Misty Watercolor Landscape | Elizabeth Rohrbaugh | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

13 Lessons (1h 25m)
    • 1. Welcome!

    • 2. Introduction

    • 3. Materials

    • 4. First Project-Beginning

    • 5. Building Layers

    • 6. Up close

    • 7. Building Details

    • 8. Foreground 1

    • 9. Foreground 2

    • 10. Reveal!

    • 11. Project 2 Part 1

    • 12. Project 2 Part 2

    • 13. Project 2 Finish

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About This Class

Not every sky is bright blue! Grey cloudy skies hold so much mystique, beauty, and movement. In this class you'll learn how to bring together subtle cloud shapes and misty hillsides and trees that create a quiet, serene landscape. And in the second project we'll "punch things up" a bit and watch how beautifully the colors can mingle and develop!  

I'll teach you wet on wet techniques, blotting, softening, and a little bit of color mixing!

I believe everyone can learn to paint and I'll show you how step by step, while still leaving room to make the painting your own. You only need one or two brushes and a few colors of paint. 

Meet Your Teacher

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Elizabeth Rohrbaugh

Watercolor and Acrylic Artist



Well hello there! I'm so glad you're here!! I'm Elizabeth. I am a self taught artist with a love of painting. I primarily paint in watercolor and acrylic and I can teach you to do the same. I'm honored that you've joined me in class! 

Art school isn't a requirement to be an artist so I hope everyone feels comfortable here. I try to break down my lessons into simple steps, with just enough instruction to be helpful, but still allow for your own creativity. Remember, there really are no rules in art! Maybe that's why I love it so much! 

So grab your brushes and some paint and join me in these classes. I'd love to see your paintings too so please feel free to share them in the projects and leave me a review if you're so inclined-I'd be fo... See full profile

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1. Welcome!: Hello. Welcome to my studio. And welcome to my skill share class. My name is Elizabeth Rohrbaugh. I'm a self taught artist and I painted in watercolor, acrylic and oil. And if you've never painted before, if your brand new toe art please know you're welcome here. We're going to teach you some easy techniques and have a lot of fun in the process. If you haven't taken any of my other classes, I would encourage you to search for those. Enjoy them, leave some comments, let me know what you liked and then follow me on social media. I often leave some tips and techniques and even some short videos there. I'd love to connect. Let's get started. 2. Introduction: winter often brings cloudy, misty skies, but there's still beautiful today. I'll teach you how to paint a serene landscape like this with a limited palate and just a couple of brushes. Grab your supplies and let's have some fun. 3. Materials: let's go over the materials that we're gonna use for the watercolor portion of the class. I'm not particular in the type of materials you have in terms of the brand, etcetera, but I do want to stress that quality does matter. Too often, new artists go to a craft store and they purchase craft quality paint or student grade paper, and that will have an effect on the resulting painting. I just want you to be aware of that. I completely understand that not everyone can invest in fine art materials, but it will make a difference in the end. So if you have a little bit of money to spend on a couple of brushes, a few tubes of paint, you can always mix colors and a couple of pads of good paper. It will be worth it in the end, because you'll be encouraged by the result that you see for this project. We're going to use cancer in watercolor art boards. These really aren't that expensive, but I love the quality because they are very sturdy and it can accept a lot of wash water if you need to, and that's what we're going to be doing so. If you're using a different kind of paper, you want to make sure it's at least £140.300 pound paint. Watercolor paper is even better if you can afford that. And it doesn't have to be the scale that I'm using. We're going to do an eight by 10 project, but you can do a smaller one. If you have that. Don't get hung up on the small details of the materials that I'm using. I have a water bucket I love cheap Joe's. I have two of these and use one for watercolor, one for acrylic, and I often share this little tip on my classes and in my demos online. This is a little, um, tool that I was taught by Susan Crouch, who was a watercolorist, and it works outstandingly well as a blogger. So if you can see here, this is just a roll of yes, toilet tissue, and these are layers of paper towels that I have folded over, and I've squeezed it into an old Tupperware container that I can use over and over again. And remarkably, it just accepts the right amount of water. When you blocked your brush, so feel free to use that tip. I did use some artists tape to mark off the size of my paper. My palate is a mix of Daniel Smith watercolors, core watercolor, some American journey. Really use what you have used, what you like, and you don't need very many colors. It's not about the color. We're gonna go through some value techniques and some wash techniques, so you can really use any color you bike. As faras brushes go, I have another variety. You do want to have either a larger flat brush or a larger round brush to make a wash. As biggest this piece again, we're doing it by 10. The bigger the brush, the fewer the brush strokes and the ah smoother the Grady. It will be so that's why I have these. And don't be afraid of using a bigger brush. There's nothing to worry about with those to add a few details later. I also have a couple of rounds. I have a number six that's black velvet silver, a number four Princeton and primarily thes two. I've selected Onley because they have a small point, or it comes to a very fine point, and we want to add a few details, some background, faded trees, etcetera. Honestly, we could probably use this brush is well, if you see when that's wet, it comes to a very, very sharp point, and that's all we really need. So once you've got your palate in your paper, your brushes and your water, we're ready to start. 4. First Project-Beginning: so to start, you'll see that I've taped off my paper. You could also, of course, paint the whole sheet. This is a nine by 12 block of paper, so I chose to block it off to eight by 10 and I wanted to go over the paint colors that I used. I said before, Please don't get hung up on these. You can use whatever you have whatever you like, but I'm going to use just a mixture of these three. And the reasons that I chose thumb are because it makes a nice mixing, especially these two creates a nice misty but a warm gray. It's not the same as just deluding a gray. You don't want to start with Payne's gray and just wash that out with water. I prefer to mix just because I think it's more visually interesting. It adds a little bit of atonality to the color that you get, and as the paint moves, it separates just so slightly, so that creates some visual interest for the viewer. I'm also including an ultra marine blue, because you may choose to use a quinacrine own gold. That's what this is. Core watercolor. Quit acrid own gold deep. And then this is, um, ultra marine blue by American journey. And this core paint is a low blue green shade. So some variety of an orange blue ish will create a neutral. And I have just found that these are nice. You could choose to use a red or a magenta and a blue. If you wanted something a little bit more purple on the purple side. I'm going to show you. Yes, my palate is very messy, but it works for me. I don't need a super neat space, and I'm showing you right here. I have kind of mixed these two paints right here. So this is the quit acronym Gold Deep. And here's that turquoise shade and you can see it makes it's got a little bit of a green tent. I know computers. It's hard to see that if the color isn't corrected on the screen, but you can make it alternately warmer or cooler by just pulling in a little bit more of one of the colors. So I just wanted to show you that's what I'll be reaching for when I go to get more paint and, um, you would want to mix up a little bit of that to get started. A light wash. You don't want it heavily pigmented at this point before we start on our paper and I'll show you why. So I've got a little bit mixed on my palette and I'm rinsing my brush. I'm going to start with a wash of clean water over this space, and it does take a few strokes for that paper to absorb the water. You can see a little bit of pigment there that I still have on my brush. That's okay. I want this to be decently saturated, but you don't want it dripping wet. So I've got some clean tissues here. You can kind of keep the edge of your tape dry if you're concerned about it going outside and what you're looking for is just a sheen on the paper. So we alternately need to work quickly and then have a little bit of patients in this exercise. So I'm just adding some more clean water, and I want to carry that water down in a smooth fashion not pertaining to my brush drugs here. But I want it equally saturated. And that's because We're looking for a soft, misty kind of sky that you see, um, as I'm recording this, it's early February and not really snowy, but cold and cloudy and kind of miserable outside. But I love watching the skies in this type of weather. They just build and have cloud billows that are ever so subtle, and that's what we're going for here. So I'm actually just carrying that water all the way down because I don't want to have a hard edge, so the pigment will carry wherever the water is. And if you can keep that in mind, then you'll understand how to pain in water color. It's going to stop where there is no more water to carry it. So when it stops, it will look like a hard, stiff edge, and we want to keep things soft, so I don't know if you comptel try to tilt the camera angle. It's fairly wet. There's a decent sheen on the paper, and I'm letting that just absorb in just a tiny bit, making sure it's uniform. Now if you're using thinner paper, this is where you're going to have some buckling. So that's why I prefer to use something thicker either Ah, £300 paper. Or like this cancer onboard. This is sealed. Oh, it's not sealed, but it's sort of glued on the edges, so that keeps the paper firm. This is great. If you want to play paint outside, take this with you somewhere. It works really well. So now that that has soaked in a little bit, I'm just going to start laying in a little bit of that light wash and just carrying my brush strokes back and forth. What we don't want to happen, as I said, is we don't want to end up with this paper being dry. So as I carry this pigment down and I'm just picking up a little bit more wash, I'm not being really careful on how my brush strokes are hitting the papers. You can see cause that's all going to move anyway. But I want to keep this paper wet because I want a soft horizon. So I'm just just keeping this a little bit damp down here. We're going to deal with this in a little bit, just so there. There's no hard edge and white space that's a little bit greener than I wanted. So I'm gonna warm that up just a little bit. And I'm kind of just using the edge of my brush. I've got pigment on the brush, and this time of year, the clouds kind of sit in layers, if you will in the sky, so they feel sort of heavy. And that's what I am looking for. I'm going to carry this down, and if you kind of criss cross back and forth, your brush strokes will be diminished and this will dry lighter, so you need to keep that in mind as well. If you're barely putting any paint on your paper, that's fine if you want a very, very subtle sky, but know that it will dry lighter and you may not see that at all in the end. So I'm just deepening mine a little bit, having just a little bit more pigment, and you can see how the color is traveling with the water. I'm kind of alternating going back and forth across the page, and here I am rinsing, getting some clean, damp water on my brush so that that color carries down. If you wanted to add a little bit of a light area. You can rinse your brush in clean water, blotted off so that it's just damp and it will pick up some of that pigment. See that? And then you can create some a little bit more organic cloud shapes if you wanted to that way, or you can just let the paper move the pigment that's already there on its own. So I'm just continuing this down a little bit. I want this barely. There's barely a horizon line there. I just deepened it so that you could see it. I like just a little bit of color down there. I actually want my horizon a little lower. I don't want it in in the middle of the page. That's not very interesting when you look at a painting, typically rules of three, the rule of three is what you're going for. So I want this to carry down just a little bit more. But I like that there's some breaks of white, and before this dries, it's OK that there's color down here because I want to blend my, um, my foreground, my land with the sky. I just want to soften that a little bit so that paint will keep moving. So I'm making sure that the entire space is damp here, and I'm going to mix up a little bit more still, using just those two colors just a slightly stronger, um, wash of pigment. So when I say stronger, that means a little bit more color in less water. So you want that to be a deeper color, essentially, and it can. It doesn't have to be completely mixed on your your palate, because that's the interesting part of what will happen on the paper is a mingling of the colors. So if you get a little bit more of the quit acronym Golden Places, that's okay, That's interesting, and I'm just tapping this in. And as you can see, it's carrying forward because that's where the water is and we'll go back in and deep in this a little bit later. We can add some layers, but I'm just sort of creating a loose horizon that will end up looking like, um, a hillside that maybe has some trees. So I'm carrying this all the way down. It's okay if there are some light broken areas that's interesting as well, and I'm just going to deep in a couple of spots while this is still moving. And as you can see, this is sort of, um, creating background, what we're going to turn into trees all on its own. We really haven't done anything. And look how beautiful and soft that Skye is already. So I'm just tapping in some color as it dries. There's still a white sort of a white space. It's not pure white because I've covered it. I don't really want pure white. I wanted just a lighter area, and that's what we've ended up with here. So I'm just continuing to darken. While that's while the pain is still moving and the trick is knowing when to stop and making yourself stop. That's usually the hardest part. I want the foreground to be a little bit darker, and as this is lighter, the darker foreground will push all of that back. These blue areas are going to fade. You won't see spots of blue like you do there, and what I want now is to create sort of, um, a softness in terms off the outline of trees, sort of the silhouette very lightly in the background. So I'm making sort of dots like that, Like the rounded top of a tree with my round brush. I'm using the same two colors. That's why this is so much fun. You really don't need many supplies. You could paint all of this with one color, and in fact we may do that as well. So I want to add in just sort of the hint of some tree shapes, and as the paper dries, the pigment will stop moving, so I can tell this is already getting dry. You will get a feel for this as you work with it. Just don't panic. You may have to do one or two of these before you get a handle on it, but that's the fun of painting. You want to do more any way you want to practice so I can kind of tell where my papers dry . See how this isn't moving. That's a hard edge. So it's done moving there. It's already dry, and I'm just It's better to leave that then and not try to overwork it. But that's what I typically dio. And if you wanted Teoh, you can just very gently with a clean, damp brush. Tickle the edge of that so that more color travels. And if there's too much color, you can always pull some out, clean your brush, pull some of that back and soften those edges. I also just want to show you very quickly if you needed to. You can take a clean tissue in kind of dab at the edge that will also soften it. So I want to give you a few tricks to use a few, get into a pinch or don't like the way something turned out. And we're almost done with this stage. Just evening out a few of these spots, some of these light areas are going to work to our advantage, so feel free to leave those. That kind of gives it an indication of some space back there. And we can always go back in and deep in some of this once it's dry so you can see this isn't moving. That's pretty dry paper. Now I'm going to go ahead and stop and let this dry completely, and we'll come back to the next step 5. Building Layers: Okay, second step. This looks great. Um, are you guys having fun? This is so fun for me. I want to show you really quickly here. If I can pick this up a little bit closer. Um, the sky is very muted. That's what we were going for. You could certainly punch that up a little bit in the previous step if you wanted to do another one and make those cloud formations a little bit stronger. But I want to show you, in particular some of these little happy accidents, as Bob Ross used to say, Um, these air blues that happened where there's more water than pigment, and it kind of pushes the pigment to the edge. But what it's done is created almost in and of itself, a background of a tree line. And then I wanted you to see two with these two colors ever so slightly. There's a little bit of turquoise that broke out in spots. And then some of that quit acronym Gold. It just looks so pretty together. So this is just something that my eye favors. You may appreciate a magenta and a blue a little bit more. It's totally up to you. You could mix whatever colors you like. Obviously, I just like the way these to act together. So for the next step, were essentially just going to add some more detail to this area. So I'm gonna pull that up a little bit more, and I'll do that with, um I am going to use a smaller brush you can choose. I think I showed some of these smaller. Actually, it was this one. Anything with a small edge, small tip. They will give you a fine point, will work. Um, you could probably still even use a slightly larger brush if you wanted to. But I'm going to show you some simple steps to add the trees. And then you could do as much of that as you wanted. Teoh. So again, I'm using those same two colors. My palate looks even uglier now, getting these two mixed up together some turquoise and connected in gold and just creating a medium wash. So it's not. There's not a lot of water, but it's still somewhat fluid because what we want to do is build up layers. So in the background, the trees would be a bit lighter and faded. As you can see there, we're just going to add some detail just a little bit and what this does by giving just a nen decay shin of some tree branches maybe that have stretched out beyond the foil. Ege, whatever. This sort of looks like a fall winter scene, which is what we're going for. So there really aren't a lot of leaves on the trees, and we're just adding in some indication of the trunks and adding some depth to these layers. So where I want this to be darker and push that layer back, I'm just gonna kind of follow what I've already got here. So this will be hard for you to essentially copy. Exactly. But that's not the point. The point is that you understand what I'm doing so that you can do it as well. So I'm just creating some layers and pushing back where there's already some depth. There was sort of a line of paint here, so that creates a plane here and a plane there, and this one is behind that, which is behind this one. So as we get closer to the front, the colors will be a bit stronger. Um, a bit more defined. I'm just adding in some dots of stronger color in this one spot, I'm going to show you, and then we can speed up or I'll go through some of the others a bit more quickly. Some of these already look like the tree is outlined for me, the way that the water carried this pigment up the paper. There's some really subtle lines that look like the edge of branches. Looks great. Love it. When that kind of thing happens and we didn't even try, it happened all on its own. So to get a deeper say, there's a shadow here and push some of these trees in the back, I'm just adding some pigment. And then you can soften this line underneath with a little bit of water so that it forms sort of, ah, the edge of the woods. If you will, um, just create some depth. And if you look at a distance scene of ah, tree line or some woods, it's really hard to make out exactly where the trees start and stop because there are other layers of trees and things in front of them. So that's All we're doing is just giving some soft indications of some plant life back there and every so often, just back up from your work a little bit and see if it visually makes sense. I want some light areas and some dark, and I'm doing this very quickly and very loosely so that I get some more of that organic movement again. Um, e want this area a little bit darker, really punched that up while that pigment is moving and that will give the indication off their some depth back their shadows. And there's a path back there to walk in the woods. And this will make for some really fun blooms to with the They're Turquoise in the quit acronym Gold Justus we saw before. They'll just be stronger because we're adding more pigment to see how that's creating some depth already and kind of follow the lead of where there are already some darker areas and build those up. Don't be afraid to leave some of the light, like some of these areas here that will create some of the interest that we're looking for . And I'm kind of, um as I look at this scene I'm kind of thinking I want this side to be even further in the distance so I might leave all of that just the way it is and Onley buildup from here over and that will give the the illusion of you're looking from here back. And it creates a focal point back here which, if you're thinking about the rule of thirds, that's a good one right there. So it's interesting to the I to look in that spot. There's more contrast there than so I'm just adding some further trunks as you can see that very small brush. This is a Princeton Select round three slash Oh, so it's very small. I don't typically use this type of brush in any of my other work because I like to paint fairly loosely, and these tend to make you feel a little bit more uptight. But it certainly works for this. Now I want to show you one little trick. I'm gonna try to do it on a small scale that can kind of work out to your benefit. I'm adding in some pigment here, kind of in an obscure shape. It's a mixture of the two colors and Then I'm going to take a slightly larger brush and just get a drop of clean water and drop that on the edge. Be a little bit more now. What that will do is create another bloom so similar to how some of these were created. The water pushed the pigment to the edge, and then it dried in those hard lines. That adds some visual interest in its very organic. You really can't control that. So it's interesting if you can let that happen. I'm just providing a little bit of lines here, spreading the water out a little. It will create another layer, and I'm noticed, are not going all the way up to the very edge of where the water traveled before, because I want to preserve that fuzziness, that's what. Excuse me. That's what makes the distant trees look like they're further away. They're less defined, so you don't want to ruin that. So I'm going to continue on with some of this and let some of this dry. And as I said before, I'm going to define somewhat to this point and then I'll come back in and define this very front foreground piece. So come back and join me when this is dry 6. Up close: I thought it might be helpful to see these details closer so that you can see how fluid this is here, where I've created those blues. And once you have the water down, you can just drop in some pigment and let those move. So I carried that over to here. I want another layer. See how very small sore these details are like back in here. So I'm just giving the indication. And if any of the edges look a bit too harsh or too hard, you can just take a clean brush clean, damp, for example. Wiggle that next to it, and it'll soften those edges and you want as your creating some of these fine lines. You really don't need very much pigment on your brush at all. If you want it to look distant, the color will naturally be lighter. Colors tend to be bolder and warmer as they as they're closer to you. If it's far away there. Typically a bit cooler as the color recedes so you can mix in a little bit of the turquoise , see how that plays in there and then these in this spot, words breaking apart that it looks like it's created another layer. So that pushed this hillside back even further. See how that happens. So I want to create one more over here already. Kind of got a bloom of water going on. I'm gonna connect these and then I want this layer to push this one back in the distance. So I'm going to do that by adding in another layer of pigment here and allowing that to flow. So I've kind of broken up the edges and just softened it a bit to make it sort of look like a tree line, adding a little clean water. And I'm following the lines that are already here, sort of. So again, this is going to be harder for you to copy. Exactly. But that's really not the intent. I just want to show you some techniques so that you can create your own with your own colors with your own design, and it can be uniquely yours. Artwork should always be individual individual expression. So I just want to come back in and show you some of that in detail. I'm going to continue this like I said over to about here, and I'm gonna leave this faded. We'll come back in and dark in this area even more once this is dry 7. Building Details: okay, Coming back to this, we actually have a little light in the studio today. It's been so gloomy. Here. You can see this little sunlight. I'll try not to let that affect the color. But I wanted to go closer in with this area and we're just going to continue adding some details. You can see how the blooms have created some of these lighter areas, and then I filled in with some of the dark. We just want to balance those a little bit. So where there's a really bright spot, you might want to just add a little detail of a tree just so that I doesn't stop there, sort of. So if I'm looking at this holistically, just this section that is a little eye catching this spot in that spot and then additionally in the background, this one is. So we're going to just do a little work to balance that and make it look a little bit more cohesive. So some images of tree branches just indications, really will help break up those spaces and not have the I stop and hold there. That's not what we want. We want to continue the eye moving around the painting, and if you'll notice I haven't pointed out before. But as I'm painting in some of the areas, if the area is a bit more on the blue side, I'm tending to use some of the quit acronym Gold Side as a pigment to add in some of the details. So that creates a visual balance, too. You can choose to do either. This is a little bit more greener right here. Um, and if you'll notice I'm not making a stick a street stick with lines coming out across. I'm just giving some indication of some of the tree branches because this will dry lighter . And I just want, like I said before it breaks up the visual for the I. And this is sort of uneven, further background layer back there. So this one you could even add in some of the quit acronym gold here and tease a little bit of that color out to break up that greenish spot and create another layer. So when that dries, it looks like another layer of bushes sort of in front of that. So just continue to play on yours. Um, again, this is hard to copy exactly. I realized a lot of newer artists. That's what you're looking for, and it is helpful to see how someone else's creating their painting. But because this is such an organic kind of process that will be kind of difficult to dio. So don't fight it. Let yours develop the way it should develop and artists meant to be an individual expression. So that's a good thing. I'm just breaking up that spot just a little bit will probably add another darker color in there. I kind of like that. It's It's sort of a vocal point off the side, but it doesn't add a whole lot of interest at this point, so I may add a little bit more color in here. I just want to soften that a little. You can do that as well. Maybe we'll just add a little bit more. Quote unquote foil Ege here, that sort of pushes that back even more so, sort of. In a negative painting context, you can create another shape of a tree and then very softly blend that out with some clean water. If you don't want it to look so harsh, see how that changed already, so I'm giving you some techniques to use. I'm not really dictating exactly where and when to use them, and I hope that that's helpful. I've been to workshops before where the artist leads you through a painting, and then the objective is to go off and create that exact painting. And while that's funds, sometimes if there's a really specific seen or technique that you want to use, possibly more so I think it's It's more interesting if you're creating your own. So I really encourage you to do that with this one and add some layers. You can always soften it back out. You can also, uh, dad with a tissue. If you really don't like it while it's still wet, the paint will rise. It will come off the paper for the most part. So look at this shape visually, back up a little bit and see where you might need a little bit more contrast where you might need a different shape. If something looks to regular, you might want to break that up with either some negative painting or perhaps some of these tree branches that we're putting in, so we'll work on that and then come back. And I'm going to add a little bit more detail up here in the foreground to carry your I over this direction a little bit. 8. Foreground 1: we're going to finish off this piece by adding another layer here and then another farther over to the right, just to carry our eye across the page. But I wanted to point out first, going back from our previous lesson, you can see where we added layers of depth, and I just wanted to point those out so that you see holistically what we're doing here. We added some contrast ing some darker colors to give some negative shapes to kind of break up that one large, bright spot. And then where there were some blooms, we added some other either indications of the tree trunks or some slight treat tips here. The branches and what that's done is created layers for depth. So we have our very background layer, and this was created in our first step with the sky and then an additional layer in front of that, where we deepened the colors, created some other shapes, added more contrast, so you can see where we have light a layer of dark, light, dark light. That's what pushes all of that to the background. So we're essentially just continuing that step with one more in the foreground. and you could do this with his many layers as you like, depending on how, um, how far back you want this toe look or how low your horizon line is. And I've found that it's really helpful to sort of follow what's already there. And that's why this is a bit more, Ah, class more for intermediate painters, comfortable with looking at what they already have versus me, dictating exactly what is there in what color. So I'm still using the same two colors that we started with, and I hope you can see how much variety you can get just from those two. But I also want you to see here. Hopefully, this is close enough. There is a light spot there. I'm going to keep that. I want that there to create another layer of depth of field. So the the paint here in the foreground kind of indicated grasses. To me, it has that upward movement, and I'm just feeding off of that. If you don't have anything like that, you can, of course, create your own. I'm just adding in another layer here, sort of Ah, a soft plane that has a downward slope, but What's that? What that's doing is adding another layer of depth. So the contrast and the additional layers is what brings the eye into the painting. I want that deeper contrast because I personally like seeing the light and dark. You wouldn't have to go quite that dark if it doesn't please you. If you want something that looks softer and more cohesive with the sky, don't use quite as much pigment. But I find that that creates visual interest for my paintings. So I'm just dipping back and forth into the turquoise. Um, the halo blue that I mentioned at the beginning sort of a turquoise sea color and the quit Akron own gold. Deep is what I have, and you can see how they're creating things. A little bit of a break here and the paint. So these are thicker washes, not thick. I'm not getting full paint, but you can see here the consistency of the pigment to the water is relatively thick, so I don't have a whole lot of water in there. And that's what allows thes deeper colors. I'm just kind of laying that in and letting the paint break with the water and separate into the colors, and I'm trying to decide if I should leave these marks purely white. It's kind of interesting to me. If you don't like that, you can always just, very softly add just a tinge of color and make that look more cohesive with the background . I'm gonna leave it white for the moment, and this is right up to the edge of my tape here. So depending on how accurate the mat sizes, you may or may not even see that, but I think it's kind of interesting. It might look like a a little puddle or something is left in the in the ground after a rain . So I'm just carrying this color over just a bit. I want this a little bit darker on the side here, a little bit more blue just because that's my favorite color. I often often often use a turquoise in my paintings, regardless of what I'm painting, just because I like it. And as you can see, you can make almost any color combination work. So I really like how deep that is here. But I wanna carry that up just a little bit. You can see just the tip of my brush, giving some indication of the grasses, and that allows for a lot of movement there then, and the balance of those two colors back and forth kind of keeps the eye moving, which is something that I want to happen as well. So I just love how these two mix together and and mingle. So now that I'm looking at it from a distance, I think I may want to very lightly go over those white spots. Excuse me. That looks a little too shocking. So just a tiny wash of color will break that, and it makes it look a little bit more uniform that way, okay. 9. Foreground 2: as you can see is this starts to dry, the color becomes softer, so I just keep adding in just a little bit to keep that concentrated and give those colors a place to mingle and dance on the paper. And right away you can see how it pushed all that back again. So we have another layer, a visual interest, and I'm carrying this right up until the tape pulling some of that across. We're going to move over to this side and I want to highlights some of the, um, the grass is here in the background to do the same thing. We're just creating more visual adept. So, as you can see, I've got some lighter areas here. I want to exaggerate those. I'm just following what's already there. It's almost sort of ah, paint by number concept. If you let yourself go with that and using a mixture of the colors one color stronger in one area than another just kind of going back and forth and following those lines that are already present, and then you can dip your brush in some clean water and this is damp, I blotted it, and I'm just going to soften those top layers. Just that very edge you can see. I'm kind of just tickling that edge because the darker color will be at the base of the grass. So I want that to kind of fade to the top a little bit more and soften that Look there and then I can go back in because that's still a little bit damp and add a little bit more color at the bottom, and it's going to bleed up towards the top, which will continue to make it look softer. This this portion of my painting is a little bit further in the distance, so there will be less detail. You'll still see a contrast. So a difference in how dark the colors are, but not a lot of detail like we did over here. So the I kind of leads back to this point. And if you see lines that are a little bit too harsh, go back in with a very damp brush and just soften those a little bit. So that created another sort of a tree line, and I want to do the same just a a bit farther over here and what I really love is I've got a light area right here, and I'm not going to touch that. So I would encourage you as you're painting yourself. Look for those kind of natural occurrences in your paintings. And you know, people always wanna paint loose. They want it toe look organic. And, um, we're going for a misty, dreamy kind of landscape here. So I don't want Teoh affect all of the the natural occurrences that have happened in my painting. I want to let those come to light, and that's what makes it look loose and organic in the softness back here is because of that those blooms that have already happened. So we're just playing off of what's already there. And that kind of looks like a path that leads back to that little spot. Maybe there's, Ah, secret picnic spot back there or something back in the woods. And again, I'm just carrying the pigment up just to give the indication of trees. They're really pretty far in the distance back here, so I'm not going to give a lot of detail and just enough variation of color alternating between that turquoise in the quinacrine gold. We'll give some visual interest, so this is maybe a little bit challenging for a beginner. But don't be discouraged. This is the type of painting you can learn a lot from, just in terms of how the paint moves, what effects you can have on it. Um, how to soften to keep that looseness. It's hard to paint loose when you're a beginner, because we're so uptight about doing exactly following the directions. Exactly. And that's not what this painting is about. So I've got a little bit of area here. This is a really tight space toe work, and next to that tape. But I'm going to just deep in this in the foreground, just a tiny bed kind of soften this edge, and we're going Teoh just about finish that the I kind of is lead across the page and back into that point, which is a great location for a focal point. If you're not familiar with the rule of thirds, you could look that up on Google. But essentially, it's very pleasing to the eye to look at a scene and break things into third's to make sense of it. It's difficult for the eye to process when it's trying to balance everything in two halves because very seldom can we paint something that is exactly equal on both sides. So for a painting like this, it would be very pleasing to have something in that third quadrant or in that area. So I'm gonna let this dry and come back and check the final details. 10. Reveal!: And here's the project. All finished. Your last step would be to take the tape off and put a nice, pretty soft Matt around that. And you've got a beautiful finish painting to hang in your home or to give us a gift. I just want to point out a couple of things. How the soft, misty sky. That's not the center of the attention of this painting, but it really provides some interest as we come down here. This isn't pure white, as you know, with the wash that we did. But it provides a lot of contrast and really leads the eye across the page back to this sort of focal point. So I hope you enjoy this project and join me for the next one. We're gonna punch up this guy a little bit and add a little bit more interest there and still using the same two colors and just a couple of brushes. We're gonna make it completely different painting. But it will be cohesive with this one so you can have a set of paintings together. Join me on the next video 11. Project 2 Part 1: for this second project, we're going to start in much the same way. But I mentioned previously that you could punch up that sky. What I meant by that was creating a bit richer, heavier kind of cloud base. The previous project had a very muted, soft, misty sky, but I think the the fluffy clouds that air filled with moisture also beautiful. And we see those in the fall and winter months here in the Midwest. So I wanted to start in a similar fashion. I still have the same two colors that we started with before the quota Crotone gold deep and they'll a blue green shade. These air cores. You could also use any other brand if you have a favorite. Um, at the beginning of the class, I also mentioned this ultra marine blue American journey paint. Now we could incorporate that you could still paint this whole scene with just two colors, but we can incorporate this to make the clouds a little bit, um, at it a little bit more of a grey toned instead of the sort of greenish that we had so I can show you. The difference is we start painting I have all of those on my palette. I do have a puddle mixed up as before. Um, you can kind of see here where I've added a little bit of the ultra marine blue, and that makes it a little bit more grayish, as you can see there instead of the green. So we'll see how that mixes and plays on the paper. So I've got this blocked off again to about an eight by 10. You can use any size you want, and I'm laying in some clean water. As before, That looks a little bit fast on the camera, but essentially, you're just getting your your paper damp and letting some of that water absorb in. I am going to carry this all the way down, as I did before, because I really like the smooth transition you can choose. However you'd like to do that, but I like to see a very smooth transition in color between the sky and the the land. For these scenes that could vary if you were painting a mountain scene and the mountains come a little bit higher up it. It may not matter, but for this one I just like that missed, sort of feel across the whole painting, so I'm kind of tilting myself to see how much water is on the paper. You don't want any dry spots. That's probably the most important. And it's going to be a little bit. We're going to use a little bit more patients here. I mentioned in that last project. It's a balance between working quickly and being patient. So for this one, because we want a little bit stronger color, that means I don't want the pigment to move quite as much as the other as it did in the other project. I don't want it blending, so one way to achieve that is to take some of the moisture away from the paper. You can do that in a couple of ways. Mechanically. You could use just a clean tissue to blot some or to just allow the paper to dry just a little bit more than we did before. So that's what I'm doing. I'm allowing this water to just sort of soak in the paper. This is kind of a meditative way to start a painting to its You're just painting with water can't hurt anything but I want to make sure that this area, especially where the sky is going to meet the ground. I want to make sure that there are no hard lines there, and those hard lines happen when the paper dries. So I've got mine under some bright lights that does prompt the paper to dry a bit quicker. Yours may not, and different types of paper dry different rates on different days. If you're painting in a humid climate, it won't dry quite as fast. So we've got that laid in, and I've got a good mix here of my quit akra dune gold in the turquoise and I am blending in just a little bit of the ultra Marine and I'm going to use my round brush. This is a size 16 silver black velvet, and I'm just going to kind of roll some of that pigment onto the page. And I'm doing that because I don't want this to be a smooth brush across. I wanted to kind of be a regular and to sort of give that feel of the heavier clouds I'm also going to add in. I know this looks strange at first, but adding in some of that quit Akron gold deep, and having that be a little bit heavier in the pigment kind of gives a nice effect to the sky When it's dry, I'm leaving some areas not purely white, because the paint will blend and it'll carry over. You can see how it's blending here already, and it's sort of a trick. It takes a while to get the feel for this and when to stop and when to move the paint some more. So give yourself some grace. Practice this a few times I have. I've done it many times just to get an idea of where to lay the paint down initially and how it will move after I've put it down and again, I kind of want to warm the sky up just a little bit. So some more areas of the quota Crotone deep. You ever had that sort of a summer glow that greenish wait or even in the fall weight of the clouds? It's very warm, so I'm adding that in. I don't want it to look too disconnected, but this is all still going to move. You can see how it's carried all the way down along that tape edge. That's OK for now. We're gonna just this a little bit, and I kind of just want some wisps of color here. And I'm going to rinse my brush because I want a little bit later over here. So some variation in that color and it looks like this area has dried just a little bit. So as that's softening and moving, I'm rinsing my brush and I'm blotting it off to get a little bit of clean water. And I'm just going to kind of flute my brush around and pick up some of that pigment and rinse that off again. So that's one way that you can create some lighter areas in your sky. You see how easily this stamp brush is picking up that paint, and it's not going to be a stark white. You have pigment on the paper and the paint is still moving, so it's going to flow into those spaces again once you're finished. But that's one way to give some variety to the sky and allow it to still shift around and play with those pigments. They're a little bit again. I don't want a harsh edge up here. I don't mind that it's brighter, but I don't want a harsh edge, so I'm just kind of going back and forth. It's a bit of a dance, definitely an art, not a science to this. But it's fun fun to see the paint move. It's fun to see the effects that you'll get later. That looks like a really heavy laden sky. Doesn't that's kind of what we're going for. So I'm just picking it up in some different areas, rinsing my brush, blotting it off and making some irregular shapes. Now. Importantly, I want you to notice this hard edge right here. I don't want that so before it dries too much, I'm going to carry some water just very carefully across this paper, and it's going to just barely touch that edge all the way across. And what that will dio is allow the paint to still continue to move and not dry in a hard line, because I don't want that blood in the water off of the edge of the tape so that you can keep a clean edge. So I still want this a little bit of color to blend down into my towards the horizon. And if you wanted to affect the edge of this, we can go back in with a little bit of pigment. Give it a little bit more to run on. Just kind of break up that that line that we had there. I really like the balance of the blue and gold that's happening up here. But if that gold is a little bit too, um two solid for you, these little dots of it. You can always add a little bit more of her top can add a little bit more of the blue here to balance it out. You can kind of see how this looks like a very heavy cloud line right here. 12. Project 2 Part 2: the cloud line right here. The hardest part usually is doing this once and then letting it go, so I'm just softening those a little bit. And that will give sort of a layered cloud. Look again. You can always pull up some pigment if you want, and that will allow some some runs back into that space. That provides some variety, but I'm more pleased with how this horizon then is shaping up. So if you don't want quite a smudge color here in the sky, you can always lift that as well. So this is a clean, damp brush. That's how you do your lifting, and it's not usually going to lift fully. There's always going to be some pigment there because it's really hard to get that paper back to full white, and I'm going to continue. I'm going to re wet this bottom one to allow that to still soften, and maybe we want a little bit. Here's another trick with the flat brush, so this is clean and damp. I'm just blotted it off, and I've got sort of a straight edge there. Want to show you how you can make some cloud kind of formations. That kind of breaks that space up a little bit, too. That will soften as well. If you wanted to, you could add in a little bit more color in between. See, again. The hard part is just letting it go. Break it up that way. Don't want that white spot right there who want to soften that. And maybe this one. You can see that if you back up a little bit from your painting, you can see that there's a stark white of the paper which just doesn't look right with all of these cloud formations. So I kind of pulled in a little bit of light there. I'm going to continue that just a little down here and lift that color a little bit more and let that kind of dance around. And now, while this bottom is wet, I know this is a long segment, but this is the part where you have patients and then you move quickly. So I've still got some some damp paper here at the bottom, just kind of pulling up that sky a little bit more. And I want to create my my landscape, my little hillside. So I'm going to do that with the same two colors and just kind of lay in some of the groundwork. I'm mixing those two colors a little bit, and sometimes I'm just letting them blend on the paper, which I think is just beautiful. That's part of the fun of water color is watching them mingle, especially when you get some bright, um, spots of that turquoise and depends on what your favorite color is. Use your favorite color. I'm just going for sort of, ah, a grassy kind of foreground here and laying some of that end, and it's going to move quite a bit, so I'm starting here at the bottom. Make sure you can see all that and letting. I'm just touching the paper with the brush and allowing some of that to move and mix so you can see how it's carrying the pigment up towards the sky. It's carried down here from the clouds, just kind of gives some interest. A lot of organic shapes. It's really not meant to be exact. Um, if you're you're going for a really designed sky or foreground, you may want to use a different technique, but I think this is just fun to play. And now I'm going to go back to my my round brush and pick up a little bit more pigment to create sort of a tree line like we did before. And the reason I used this is because you can get sort of that round in shape so that automatically looks like a tree and it'll blend quite a bit, so it's OK to start a little bit farther down. These are all going to carry up higher, and you can use a heavier pigment load when you're doing this stuff. Threw in a little bit of turquoise would create some interest, and I don't know if you can see that automatically When we pull this a little closer. You've got a tree shape if you feel like it's moving too quickly. If the water was too heavy up here, you can always tilt your paper like this, and that will prevent it from climbing too fast because gravity will take over so you can see this kind of stays a little bit more localized where I'm laying in this pigment. So what I really like is this light space and that contrast that it provides between the sky in the foreground. That's just one of the beautiful things that I think you can have happen here now, moving a little bit quickly because I know this will start to dry, and I want to get a full kind of range over here laid in before it does. So I'm just alternating between the quit acronym, gold deep and, uh, the blue shade sort of a turquoise color, and that gives me a nice rich green when it blends. But I really like when it stays separate like that. So I'm gonna go up just a little bit higher over here, kind of make it seem like it's, ah, a sloping kill. Give that a chance to push back and it's OK to leave some light areas to, as in the previous project that works for us. You can do that by leaving some of the negative space in between, so that's starting to dry. I can tell because it's not moving as quickly just to get some really deep contrast in there, that pop of colors so pretty that will create a lot of interest when it dries. You don't want it quite is orange if it's distracting, going back over it again with some more of the color. What kind of soften that out depends on how much separation you want. I don't mind a little papa blue in that rich orange every once in a while. That's kind of what attracts me to this now again. If you wanted to have some lighter areas, have kind of covered a lot of that up, you can pull some of the Actually, you can see that. Pull some of that pigment out just a bit in places to allow some variation. You know, maybe this is a little rolling hillside. We can always add in some more contrast later. I'm just giving you techniques, and that's why I've rated this class as an intermediate so that you can move on and do your own thing with it. I didn't want it to be fully a beginner class, where I give you step by step exactly where to put things, how much color to use which colors to use. I wanted to be individual and express yourself as an artist so you can see this isn't quite dry, but there's a lot of really need cloud formations and these air still moving just a little bit kind of going back and forth and some contrast in places. And I think we're gonna let this dry. It's hard to know when to stop, and it's hard to make yourself stop. But it's a good thing. So we're going to come back to this once It's dry and added some more details like we did before and you'll see between these two. They're not exactly the same. We're using the same two colors. I'm using basically the same techniques, just varying the amounts of paint and how I've laid it down slightly. And we get two very different compositions in two different moods of the painting with the same two colors of paint. So let's let that dry and we'll come back and work that out a little bit more 13. Project 2 Finish: So here's the fun part where you can take the tape off, reveal your artwork and put a simple matter around it and see that you have a beautiful landscape now to hang on your wall or to give us a gift. And I just wanted to show you one other. Um, example of using these two colors that I've done on the side, and I just wanted to show you the difference in the sky. It's a bit more yellow. There is a little bit more gray in there, but again, using the same colors, you can see how you could create a whole collection like this, and that's essentially what I've done. I have a number of paintings just using a combination of these two for the sky, in the background and with varying degrees of intensity, and they all play very well together. So when I put them up is a collection on the wall. They look great. So I hope you have enjoyed this again. I hope this is suitable for intermediate painters. I want you to experiment. I want you to go back and watch it again. If you need another few tips. If you have any questions. Please send me a message. I'm happy to help. I love to engage with my students. And if you're not? Already followed me on social media. I'm on Instagram and Facebook and I loved to connect with you. They're a swell. I hope you've enjoyed this class. I do have several others. Hop on over and check those out as well. And I hope to see you back here soon. Keep painting.