Mixing colours for landscapes in watercolour, Ink and watercolour painting | Cally Lawson | Skillshare

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Mixing colours for landscapes in watercolour, Ink and watercolour painting

teacher avatar Cally Lawson, “Paint like no one is watching"

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

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

Lessons in This Class

10 Lessons (40m)
    • 1. Introduction

    • 2. Materials

    • 3. Colour mixing 1

    • 4. Colour mixing 2

    • 5. Colour mixing 3

    • 6. Cheat mixes

    • 7. Pencil guidelines

    • 8. Ink drawing

    • 9. Final project

    • 10. Conclusion

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About This Class

Learning basic colour mixing, mixing the three primary colours to create a range of greys and browns. These colours will then be applied to an ink and watercolour painting of a bridge.


Meet Your Teacher

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Cally Lawson

“Paint like no one is watching"


Hello, I'm Cally. I am an Artist situated in Cumbria, North West England on my family's dairy farm. I particularly enjoy teaching beginners drawing and painting, focusing on building confidence and emphasising the importance of relaxing and having fun whilst you paint. I have been teaching and demonstrating on YouTube for the last few years, where I cover a wide variety of media and subject matters. Here on Skillshare I will be aiming my classes solely on beginners, watercolour and pen & wash. Please feel free to contact me if you have any special requests for future classes.



You can see examples of my own work on my website and by following me on Instagram. I work mostly in mixed media, especially liking using ink dip pens and al... See full profile

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1. Introduction: Hello and welcome to my skill share costs. I'm Cali and in today's class we are going to be learned about mixing colors for stone and words, and earth colors for when we're putting them into a landscape. So the course that we're going to be mixing other grays and the browns, which can be all mixed from your three primaries. So they're going to be two parts to this course. The first part is for you to have a really good practice that make it different grays and Brown's from your three primaries using various primaries and keeping notes and putting those on a chart for future reference. The second part of the course is to complete a little landscape, and that will be in ink and water color. And the subject for this course is going to be bridges. So you're going to need to be paying particular attention to your drawing. Because obviously with bridges, with any architecture, if you get the drawing slightly wrong, it may look as if that structure isn't allowed to hold together well. So you need to think about perspective and you need to think about measuring those lines of the bridges and the arches just to make sure that the viewers eye doesn't pick up in your drawing that maybe that bridge might look like it's about to fall down. So one little line in the wrong direction. And when you do an architecture can be a little bit tricky. So just pay particular attention to your drawing. Okay, so two parts to this course. So like I said, the first part is going to be practicing those cause and we're gonna talk through the different combinations that you can use Avi primaries to get loads and loads of nice grays and browns to use in your landscapes. And thus in my previous courses, I'll come back to you then at the end of the course and we'll have a little chat about how things have gone. And in the meantime, if you need to contact me, please do through skill share, or indeed on Instagram through messenger, messenger in service on that, because I use Instagram quite a bit. Ok, so let's get started with some of the color mixing. 2. Materials: Very quickly before we begin with the actual column xs, I just want to talk through the materials that you're going to need. So I'm using practice paper. This is NASA's practice paper without stands for the Society of all artists. And it's an inexpensive ones. So you don't want to be using your best papers just for practicing your cause on. You might have a little sketch book that you can keep your call xm. And Jim make notes would be cause to keep for future reference. You're gonna need a palette. You're going to make brushes. So nice, clean water, pencil and eraser, your paints, whichever colors you've got, Don't worry for them. Same as mine. Some tissue. You may want some take to later on when you're doing your finished painting, you might want some take to take that down to a board or you might be working in the sketchbook or part of that's absolutely fine. Whichever watercolor paper you've got, as I've recommended in previous skill share courses, I would stick with a paper that's above a 140 pounds in weight. And that's usually a good guide to go buy. Some time to think now it was anything else I've forgotten. You're obviously going to need your reference photos and you're gonna need a nice drawing pen. I use unit pin five minus. You can use whichever pens you like for your drawing. But just make sure that the waterproof and Fe proof. So I've included these photographs in the reference section that you can download yourself. You don't need to print them off. Once you've got them downloaded, you could just look at them on your screen. Now there's quite a few that I've got, some lovely ones that are found online. It's an honor sight. That means that they are licensed free. So in the future, if you went on to use one of these photographs and then exhibit hate it, you wouldn't need to worry about owning the copyright licenses for the photograph, the role license free. So if you do come to the stage where you exhibit in your work, you don't need to worry about that. I'll never share photographs with you that you can't use. Okay. So those are all there for you. And I'm actually going to haven't actually chosen which bridge I'm going to do. But part of this project today really is for you to choose your own reference photos from the ones that are provided to decide which one attraction you the most and which one you would like to do for your finished artwork. So I think that's it for the materials will get on now and start mixing. So of those colors. 3. Colour mixing 1: So to begin with, all we need is the practice paper that paints the brushes, the water, and the palate and something to write with. So for this first part of the column mixin, I just want you to choose three primaries from the colors that you've got. So please don't worry if you've not got the same colors as me, it really doesn't matter as long as you've got a red, a blue, and a yellow. It'd be nice if you have more so that you can do more combinations, but you can do this just with any read, any blue and yellow. So really don't worry if you haven't got the same as me. Now when you get these, I'm trying to pull one out there. I can pull it out when you buy the little patterns and you can't see here because it's got pains on, but I could wipe that off. The names are written on the side. If you've got a more expensive set that hasn't got the names written on. Don't worry, it's not the name that's important. It's the fact that you get to know you close and how they mix together. So if you've just got an inexpensive set with no names, I would recommend that you give them all a number so you can number them 123 along, all the way along. And then when you make any notes, just use those numbers so that you know in future which colors you've mixed together. So hopefully you've got a chart with the names on. If you haven't just give them all an identification number so that you know which ones you're makes him. So I'm going to begin by mixing French ultramarine, Alizarin crimson and let me think raw Sienna. So that's gonna be my starting point and I'm just going to mix equal quantities of those. And then we'll come and talk about what we've got there. Before we go any further. One thing I should have mentioned is it is really a good idea to have a white palette. She come by colored ones, but then you colors against them don't look right. It's much easier to gauge your Kohler If you've got a white palette. So always stick to that. And if you've not got one, a white plate and old white plate or dishes absolutely fine. Or, you know, some Tupperware, anything like that. Okay. So I've mix those colors, have not tested that color yet. And I've just sort of roughly four equal amounts in. And we're gonna see what that looks like. So the thing is with mixing your browns and grades from your primaries is that the closer you can get are absolutely infinite. We could do this all day and get thousands of different colors just using those same three. So if we look at this now it's much more on the brown side than it is the grey. It's clearly more than the red, is a stronger pigment than the yellow and the blue. So the red is sort of dominate in that. So it's a very ready gray. If we want to make it a little less red, we could add more blue. And this is a bit like mix in a cake. And again, you need to know your color wheel. Because if you think about it, if you think something's too purple, you would add what was on the opposite side of that color wheel. And which of course would be yellow. Okay, so that's just that tiny bit of extra blue in and we've completely changed that color. I should've said to make notes. So write down the coolers. Pharyngeal tra was still the warm. We had raw sienna and we had my brain's gone too much. Alizarin, crimson. Okay. You better notes than me, but you know, as you go along, whichever three-year using make notes. Okay. So we've got our nice pinky gray. We've got much blue or gray. Now, if we want it to go more towards the brown side, we need more yellow and red. Let's get a bit more water. This quite dry, this pan of raw sienna. And you'll see by just alternate small amount, you're gonna really change that color. So you really wouldn't have thought that just started in the extra bit of yellow is gonna take us all the way back to Brown from that gray. Okay, that's a more red. And if you come across a cola, you really like, you know, really make notes on the ones that work. And you can see how this could go on and on all day. Just add in a little bit of different color. But don't forget the other thing with watercolors is the amount of water as well. So you've got a nice gray there, which could be used for limestone or Susan, but you might not want it as brightness, as dark as that. So you could add some water, takes some of that into that water to make a much paler color and use the white of the paper to come through so we could go on and on with those. So what I want you to do now is to take three of your own colors, blue, red, and yellow. It doesn't matter which ones as long as you make notes and have a go at just keeping mixing different amounts of water and different amounts of those three pigments together and see what lovely colors that you can get that you can put into your landscapes, a stone, wood, et cetera. And then I'll come back to you in a moment with your second part of this project. 4. Colour mixing 2: So by now I'm hoping that you'll have a lot more calls than I did there and you'll have a nice sheet of lots of different browns and graves that you could use in the future. And look at some of these, how nicely that there granulate in and sinking into the paper. And they can really look like stone because the Alizarin in particular tends to push the colors away a little bit in the separate and you get some lovely stony effects as the dry. This one in particular is looking rather nice. Okay, so for your next part of this project, I want you to swap one of you Carlos, for another, blue or red or yellow. So for those of you that haven't got more than one, I'm sorry about this, but if you've got more than one of any of your clothes, just swap one of them. So I'm going to choose the ultra Marine to swap and I'm gonna swap that for Suilin, which is this one here. So I'm going to use this Cerulean with the same two colors as before, just to show how we can get some completely different colors just by swapping 1over. So again, I will mix similar quantities of each one. Okay, let's have a look and see what this looks like. It's actually quite watery. I've got perhaps a bit too much water in there. We could strengthen alphabet. But again, it's quite on the pinky side. As I said before, you read tends to be quite strong compared to when you make them of a similar consistency. So put some extra blue and yellow in there. So whichever color you think it's too much like, you just add the older close to balance it. And this is also something that will come with time. So that's quite nice. Gray there. It's on the brown side of gray for a little bit extra blue and none of the other Turin, we're gonna make it a little bit more on the blue side of Gray. Again, this is quite nice, colorful limestone. And the way that superiorly and an Alizarin work together is the sort of separate from each other and you get some lovely granular effects. So then if you decide it's going to glue and you want to go back to Brown again, you can have that red and yellow in and go completely the other way. Let's just have a look at that with just a tiny bit of red. So teeny tiny bit of red. Look at the difference between those two. Both made of exactly the same colors. Such a striking difference. So in general with economics in one top tip, I would say is never makes more than two or three different colors together. You start mixing four or five close together, you're going to end up with very muddy colors. So again, just that in a little bit of yellow and we're going right back to Brown. So if you have more red and yellow to blue, it tends to be on the brown side, more blue to the other two. It tends to go back onto the gray side depending on what application you want it for. So that's your next little projects. Swap one color and see what range you can get on the other side. 5. Colour mixing 3: Okay, so now that you've done lots of those and we've got lots more examples. You became kinda getting a feel for how you keep balance in it, incorrect in it with the ones we know if it's going to Brown, you might want to make it back to gray. You'll be getting a feel for your own colors because like, say you might not be used in exactly the same three primaries as I'm doing. So now you can solve one or the other colors. Instead of swapping the blue, let's swap the red. So we'll stick to the Cerulean, a lovely color. And we'll stick to the raw sienna. Makes quite an unusual green actually those two together. And then instead of the Alizarin, this time, we will use, let me think, cadmium red, I think really bright red. And we'll get something completely different. A much flatter Brown really. You don't get that granulation that you get with the Alizarin. So again, it might be an application that you need. Some blue indigo back towards the greys. And again, you could go on and on. Now see how I wanted that to be gray and it actually looks very green. If you think about what's on the opposite side of the color wheel to green. It's red. So it just means that you need a little bit of red in there to stop it looking quiets agree. Okay. And see again, like I said before, how just that tiny touch of red completely changes the color. So now you could go on absolutely. You could do this all week with different combinations and end up with thousands. Like I said earlier, you could end up with thousands of combinations, but just have a good practice. And if there's one that you think particularly works that you think, oh, that looks just like limestone or just like sandstone or whatever. Make some notes about how you made that makes open which three cause you chose to do that. So keep those nodes, K polos, things written down so that you've got something to look back on for future reference. 6. Cheat mixes: Now before we move on to the drawing and painting of the bridge, I just want to talk through a couple of cheats ways of getting your browns and grays. So one really nice grey that I like is made up of burnt sienna. And any of you Blues really are quite like it with a French ultramarine. So you're burnt sienna there. Some French ultramarine makes up a nice gray. And again, if you want it to be more blue and Les Brown, just add some ultramarine to that and you can completely change the color there. Okay, so that's a very quick, easy gray is to use Sienna and one of your blues. So if you think about it really as Susanna's kind of orange, which is the yellow and the red mixed together. So you're doing the similar thing. You've got your red and yellow making this orange color and then mixing that with the blue if that makes sense. Ok, so the other thing to say about your colors when you do in landscapes is stick if you can, a little bit as well to your earth colors. Because these pigments, these earthy pigments here, a made-up of earth as the name would suggest. So the going to look natural. So your numbers and you CNRS are going to look much more natural than things like carbon means. And I think you can see that from when we swapped over to this cadmium here, this cadmium red. It looks quite bright and not just as natural looking at some of the other coolers. Okay, so if you look at all my Earth closer, more or less down the side and you can see that. And the other thing is, I should just mention Payne's gray. We've got Payne's gray here. Which some of you will probably have in your pilots because most standard pilots come with Payne's gray. I don't like it very much. Some people love it and other people don't use it very much at all. I don't use it very much at all. It's a very blue or natural looking great for me. But it might have applications that you want and you might want to mix it with other things. So perhaps if you put popped a little bit of red in, it might calm it down and make something different, but actually that's making a vivid purple. But you could see how it's, it's, it could be useful for some things, but I'm not a big fan of Payne's gray. But if you, if you have it and you like it, then by all means use it. Okay, so I think that's everything for grays and browns. Some of you brown straight out of the pan, ready made. If there, if you're not, if they're not looking very lively, perhaps you are using this one for a tree trunk. Awesome thicknesses the burnt umber. It's a little bit flat and boring on its own. You can see how some of these Brown's, we've made up ourselves much nicer than this is on it's own. Again, if you just add another color to carry out a little bit of blue into that, it makes it a much more interesting color. Ok, so you can use the ones that are ready-made. Ok, but just think about the applications and have a go at mixing some of these lovely ones out of your three primaries before you start this bridge project. 7. Pencil guidelines: Before you start your draw, make sure that you're comfortable and nice. Comfy chair and a brew and have your paper and pencil ready, obviously. Okay. So we've got a few different pictures, as I mentioned before, and they're all very different. And they've all got very different grays and browns in the stone work. This one's got a lot of reds in the stonework caption was crap formal bridge. Compared to some of these loans in the Lake District in Scotland way You've got this much rounder stone. Again, different cause and don't forget some of the colors on the stones made up just by the stones themselves. Lots of these bridges have lichen and mocks and things like that on them. And of course they reflect the colors from the sky as well. This one, although it is a bridge, it's taken from going over it rather than from the side. And it's got all these lovely cobbles. So you've got the walls of the bridge and you've got all these lovely different colors in these couples. So don't forget when you draw knows that those are a 3D object and you want to get that shaping of the cobbles there. Again, this one, a very simple structure. Just if you look at this one here. So just keep in mind that these photographs aren't necessarily taken flatten this bridges going slightly away from us and across in a way. So really think about those measurements. Make sure you get the shape under the arch here. Look at that match. You get these shadows on the hair as well. But to begin with, with all of these, I would start with this line when you start your drawing. And then fits everything around that. Okay, so I'm gonna choose this one quite like this one. We've got a bet coming down from a long way back. And it's a very old sort of pack house type bridge. Again, very dark underneath because it's a nice sunny day. So these are the lines that we need to get right, this line here and the one here. And I'm just gonna do a very loose pencil sketch of that. And I'm not going to do a lot of pencil drawing all these trees and the rocks and things around them. Just gonna stick the drawing. Our unnamed join us. I'm going to just stick to this area here. And then this can be very loosely dawn in paint afterwards with some washes. Okay, so I'll start now and do this line first. So if we look at ticked, they've looked at their measurements here. From there to the top. From the top to there is pretty similar. This is obviously a keystone without which you break bridge would fall down. So it's important to get that in there, but all bridges a different, differently constructed. So you really need to look at that yourself. So I'll just prop that hope. And the angle of this line here needs to be correct. And then gradually slopes off. Sort of Laila, much steeper away on that side. So a bit of a lazy eye shape. And if it's looking wrong in a moment, we can correct them. Okay, so we need to look at this shape here, the first line, how high up it comes. And then again quite sharply down here. So we've got quite a width here. If you look from here to here, this crack width, width. This is obviously going to be part of the wall going away as it goes away, rather than bridge itself. And then you need to get this much darker line. I'm doing these little short lines with my pencil because when you're doing something like this where you need to be accurate, it's much easier to get that shape. And then it is trying to set off and try and do a line all in Walmart that it's much harder to get a accurate than it is to do it in little short ones like this and you can of course, sort that out later. How not just to happy that we've got some intros. Look at it from further back. I think we need to go more here. It's much more rounded than I've got it down. Let's just measure. I'm just wondering now if I've got that. So we've got that from there to there, it's similar measurement to down into the BEC. So if we go from that, so I don't think we'll come down far enough. I think that's why I'm here. And we've got this big rock. That's gonna make it look much more. It looks I haven't got it looking as toll, but it's because I haven't got those rocks in, sort of emphasized that shapes. So you'll see how loosely I'm doing the drawing. I don't want to do the drawing of anything other than bridged the bridge to tightly here. Okay, and I'm just going to start a look now at the key stones. The stones rather not just the keystones. And this is a decision you need to make about whether you're going to put every stone in or not. Some people might like to, others of you might want to just indicate them. So just by indicating a few lines like that, we'd get the feeling that that Stones going over. Or you might want to put every single warning, but look carefully at where the change. So we've got here, we've got like a separate file that's going off into the wall and you've got so much bigger stones in here, and then some smaller ones around the actual arch itself. So that's something that you might, you have to decide for yourself really. And it's important here to get these shapes. And I'm not gonna do all this with pencil, can do this with the pen. So just really look at where those stones change from being the stones of the arch to be in the stones that are just in fill for this wall here, which are completely place completely differently to the ones that are going around. You can't really see the shapes of these, but you can't see here where they go in and out. So I'll just explain what a main neck he can't see each stone under here because it's so dark, but you can't see the Jackie digest them over the law side. So that's something you want to get a bit of character in, that would be something that you want to do. And again, there's some stones coming now into the back here that you might want to do with your pen. Okay? So not, this isn't perfect, but like say you are going to be spending a lot more time than me to try and get that arch, do a few more measurements. Measure the Stones compared to the distance of this line or the width of that line. So this here, from here to here is less than half of the width of the stone. So if you think of that there, so that's about right, isn't it? For that measurement there? Okay. Searches, keep measuring, keep looking, keep comparing, keep lining things up. So if we look at that, we'll look at that line. That should be actually, I think I've got that going too low if I'm looking at that now. So again, that wants to be much. I tend to over-exaggerate curves. It's something I do when I'm drawing people as well. So at over-exaggerated down, taking it too far down. So keep looking back, keep having I think about all those lines and where they're going and those measurements, and spend quite a bit of time getting them correct before you move on to your drawing. And although it will be completely different if you've chosen one or the other photographs, those tics will help you just to keep looking, get those measurements in. And like I say, use those little short lines to get these curves right. 8. Ink drawing: Okay, so moving onto the pen drawing, I'm using a unit pin fine liner. And this one is a size not 0.8. We got some really quite dark lines in here that we're going to want to get. But I'm going to start with this top line, making sure we've got that right now. So we've got the shape of that line. But if you look at it, we're going to see a little bits of jaggedy edges where the stones are going in and out. So we can now just follow along that pencil line, but get those stony shapes in just by going a little bit open down where those stones go along there. Now, if you wanted, you could spend hours doing this. Like I said, each stone exactly as they are. Or you could do it like I'm doing and be a little bit looser with it and just get a general feel for where they are. And give it a more Impressionistic feel than actual photorealistic fail, but that's dependent on your style. So we can do exactly the same for the underside here. So by doing those little dense in there, you've got that shape of the keystone. Without putting these lines in, you don't need to put all these lines and you can just put an indication of them here and there. And again, we'll go all the way around, just going in and out where those stones a key and in together some of them are thinner than others. The not all even it's a very old bridge that not all. Some of them are quite rounded, Some of them are much flatter. So let's just give a bit of variety to those lines and just let you haven't social Weibull well, Walpole along a little bit there. And then when we come to the basis and very different shaped stones, and you can see how you can easily build it up like that. So game goes all the way around the arch, going in and out. So they're picking up some shapes of these where these pencil lines are that I put in earlier. Don't forget, we're gonna be Rubin all those out. So it's going to look a lot neater by the time we finished. Hopefully in and out there, where those stones go back. And you can see how it's going to take shape and get, get a lot more character in by doing it that way. So over here, some of these stones are a lot bigger and rounder and those are parts of the wall rather than part of the arch. And then as you go up to here, turns into Arch. And you've got those, like say don't put all those lines into a field. We're giving this a feel for, for it being an archway and a bridge. Not worrying about if it's the exact stone rebuilding it. Unless you're one of those very patient people who is happy to do it like that. Okay. So like I said, I'm just with the coolers where I don't want to go right up to the edge here, withdrawing with the trees and things. I'm just going to indicate a few stones, a few light shapes. And I'm not one for every line in. But it is important to get those lines in the right direction, the ones that you do put in, as I said earlier, you don't want it to look like the bridge is going to fall down because you've put the lines going off in the wrong direction. So here, this is where they are, should have commerce to just put indicate those. I'm very light. Light with this, I'm hardly got any pressure on the paper. I'm just letting the hen sort of worked for me in a way. Wanted to bits of wage soil, bits of weeds and things growing around the edges there. Especially under the Canal bridges. And amongst those paving slops. We can't actually see the top of the wall. Some of the photographs, as talked about early, you might be able to see the top of the walls, will just think about that. It's all going to depend on which angle it's been done from. And to get your perspective right for that. And some big stones here that it's been built onto these stones that would be there to begin with. And if you look now carefully at this picture, we've got quite a lot of Macias. We'll do a little bit of a burden shape, the bone mass that's on the top there. And then we can think about again, some greens and yellows in their afterwards. Okay. So like I said, the far side is going to be again in an hour where the stones are coming into and try and line up some of those in and outs with the ones that you've got above. Because that's going to make it all the more convincing. Move your arm, you might want to move your page. I don't move my page because of the angle of the camera because I want you to see what I'm doing. But you could move your book around. Cylinder, this is stone and some of it's actually shadow. We've got a lot of shadow gone up there, so and it goes right down into the water. So again that figuring there those being quite deep pill where it's a more or less, I don't think it's a waterfall is search, but it's, it's come down from a lot higher open. It's probably made this deep area underneath a bridge here with his lovely big stones in the foreground. And again, if you look at the photograph and you look at my drone, stones won't be the same. I'm just generally puts it in a way to get that feel for the, for the area and for the shape of it. And we can say actually some water coming down the front here as well. And so there's a lot going into that pills. It's obviously quite deep there and the water there in the bottom. Okay. So I'm just contemplating now as I'm as I'm token Jia, whether to how far back to go with this drawing with the the bac k. But I think that's quite a distraction. Actually when I'm looking at it again, I'm not sure it's back. I'm not sure is a pile of stones is very difficult to decide what this shape is here. And I think it would be a bit of a distraction in, so I'm going to leave that for now. And I wanted to actually get some stones and don't forget water sort of horizontal at this point or should basically don't want to be having too many conflicts in lines that you want it to look like it's sat in the bottom there. Ok. So for me that's probably enough drawing, but I'm going to put some of the shadow and not with the pen rather than doing it with the paint. So how you do the shading with Japan is entirely up to you, but different people use different techniques. I like to just very gently shade and side to side. Some people like to crosshatch. You might want to do a much more solid shape from shading. Frown just and again, because it's they arch, which way? You want those lines to be more or less going all the way around at the right angle. If you change the angles, you suddenly start going that way. It would look wrong. So think about your shaded, whatever technique you used for your shading. Still bear in mind that you are still drawing and could affect the whole look of the whole thing. And again, like I said before, you're going to have a lot more time than me, hopefully to do this. And really think about it. Go away, heavy lunch, come back, look at it, see if it's, you're happy with the shape and the amount of detail that you've got, etcetera. So this shadow here is actually going down the rocks, but it's a shadow made by the bridge itself. Obviously the light's coming from up here and it's very, very dark in here. So I'm going to put in the pain. Tom will most likely have more dark colors onto there to make this even darker. But it just doing some of your shadows with your pen helps you, when you come to put your pain tone, helps you think about where where those very dark areas are and where it's absolutely the darkest. Ok, so here you can see there's just no light at all get into that. So I could go on for ages, drawing ISIL are really like drawing with my pen actually. So that's something that I could carry on for quite some time. If we look here, we've got a lot of shadow on the bank that be nice to get that in because then the bridge is going to stand out against that because quite a lot of light colors in the bridge. So those light colors, if you put these dark ones behind, you're gonna pop out more. 9. Final project: Okay, so once you're happy with your solid drawing of your Bridge, and then you've got things where you want them and you're happy with your ink drawing. You can then erase those pencil lines and then come on to do the painting. Now in previous Skill Share causes have gone all through the painting with you and I'm not going to be doing that today. I firmly believe that you get better at developing your own style and choosing your own colors if you're not constantly just copy what I'm doing. So that's part of the reason why I said Please do choose your own photograph. Don't just go with what I'm doing it all the time and choose your own photograph because what appeals to you may not appeal to somebody else. So this photograph in particular, what appeals to me when I'm looking at this, there's literally red here. So I might pick it out for that reason so that I might want to make a focus of that. And like I said earlier, that thing on this one is these lovely cobbles you might want to make that part of your focus. So water trucks one-person to a subject doesn't necessarily attract somebody else. So when you're looking at which photograph to choose, really think about what it is you like about it and what you want to focus on. So when you come to apply your paints, think about all those colours which made before. You may even like to make the whole painting from just those three colors. Because of course you can make your greens up as well from your yellow and your blues there. So you don't need lots of colors. And when you use just three colors to make up everything that you need in that painting, you'll find that it's a very harmonious painting. Although in this photograph we haven't got any sky showing. If you imagine you did your blue sky and then you use that same blue to do to make the stones and everything else with those mixes that we did earlier, using that same blue that you've gotten. The sky sort of already helps you to make a harmonious painting for the painting to hang together nicely by not making too many coolers and introducing lots and lots of new colors all the time. Okay, so that's something for you to think about as you go on now and do your painting. I would recommend that you keep it quiet loose, that you just allow the drawing to speak for itself. Get all that nice detail of the stone working with your pen. And then just lightly put the colors on the top there. Like I said, with this one, it's very light colors anyway. You only need some very delicate touches of color, which those of you that have done my courses in the past are no year o very good at this. Anyway, you could have in a nice light touch with your watercolors, let in the paper shine through and some of these mosses and things, it's just needs a tiny little touch of yellow. You don't need to go overboard with putting every single color in that you see on this photograph. Try and simplify it a bit and make some very loose washes. And it's a nice sunny day. Let the paper shine through those plenty of water and keep it loose. Okay. So I'm hoping you don't want to, which I'm not showing you the painting process. I think you'll do just fine on your own. And I really look forward to seeing those finished pieces at the end. And of course you don't just have to do one bridge if you've got the time, go on and do a few more and upload those files to see as well. That would be lovely. And the more pictures I get to see of your work, the better really, I really love seeing them. It's great and it's fantastic how they all come out so different, even though you've all done the same cause they're all great, but they're all different. And some people have much more vibrant colors. Some people have like a Sampson, very delicate cause I'm not very good at being delicate. Highlight really bright colors. And so they're all so different and different styles. And that's what I'm trying to encourage this for your own style to come through. So you go ahead and paint this in your own style. And I really look forward to seeing the results. 10. Conclusion: If you've got this far in the course, and I hope you have, I would like to thank you very much for taking this skill share costs with me. I hope you found useful. I hope you've learned something from it and enjoyed doing your bridge painting. And I really look forward to seeing all those, as I said before. And I hope the one thing you've learned from this is to really look at using those primary cause to make some mixes. Not just to mixed greens and purples, but to mix the three together and make all those lovely grays and browns. And like I said, the possibilities are infinite. So as I said in the previous clip, if you do want to trust, try having a go at doing a full painting using just three primary cause and absolutely nothing else. Just pick yourself three primary calls out and do a full painting with them. And you'll find you get some lovely callers. And it makes you think more about color when you restrict the amount of cores that you're using. Okay, so thank you very, very much. I've enjoyed this class today. So lovely photographs to work from, and I really look forward to seeing those pictures. I'll be back again with you soon with another skill share costs. In the meantime, you can take a look at all my free tutorials and demonstration's over on YouTube. And you go over to the website and have a look there at any of the courses that you might not have seen on the skill share because they're all listed there on one page to make it handy for you to find them. Okay. So thank you very much and I'll see you again soon.