Mountain Ranges in Watercolor | Wilhelmina Bodine | Skillshare

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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

7 Lessons (1h 5m)
    • 1. Introduction

      0:53
    • 2. Colors and Supplies

      2:27
    • 3. Sketching and First Wash

      8:17
    • 4. Distant Mountain Ranges

      19:10
    • 5. Mountain Ranges Continued

      10:06
    • 6. Defining Mountain Ranges

      10:14
    • 7. Birches and Finishing Touches

      13:38
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About This Class

Join me in painting a mountain scene with various distances that look realistic.  Admirers of your painting will be led into the mountains from a grassy meadow and see how the colors change the more distant the mountains become.  We will create a distant foliage at the foot of the closer mountain and scratch in some birch trees for added appeal and richness.

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Wilhelmina Bodine

Give yourself the gift of watercolor!

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Fine Art Creative

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Transcripts

1. Introduction : Good morning. I'm real. How amenable. Dying. And I'm here in Henniker, New Hampshire, where I live. And I'm very close to Pat Speak, which is right behind me. A skiing resort. We're gonna be doing a painting of the mountain. Maybe not exactly this one, but I wanted to stand here at these introduced mountain scene for you. I hope you join me. This should be a fun, quick lesson. Very relaxed. Very little drawing involved. So please join me. Thank you so much. 2. Colors and Supplies: four are painting off the mountains and distant foliage and some birch trees. We used the following colors. We used Alta Marine blue civilian blue, olive green, sometimes mixed with ultra Marine. We could have used more nish brown. I did not use it in this last painting, but I'll show you samples of where we have used it. We used cobalt blue, a little bit of Russian green, cadmium, yellow and violent. Any of these colors are colors that you have that are close to. This will be perfectly find for this painting on a mountain range. I like to use this particular Strathmore watercolor paper. It is very forgiving. It lets us lift off, especially if we started when I'm wet. That's why I almost always use it for my beginner students. But I have used it for many of my own paintings as well. So I highly recommend £140 paper of whatever choosing you decide. Please use the rate of softer racer so it won't scratch your watercolor paper. You have a palate, you have some colors, you have paper towels. And I used very few brushes. I'm mostly used my number 10 round fresh I used the number one brush for a very short time . I used the rigor or liner brush just at the very end to pull in the shadow lines of my birch trees. And I may have used a number four, although I don't even remember using that one. And I briefly used a flat brush either 1/2 interest, 1/4 inch, whatever. You have just to help me lift off some hard edges and you have your water container on. That's all you need to do this wonderful painting with me. So please join me. Thank you so much. 3. Sketching and First Wash: for our sketch, which you will find in your assignment. I have simply done a few lines. This is my practice One and you can just do give yourself three lines. I gave myself a little bit extra far, far away mountains seen there. I might crop out some of this in the foreground. You want to make sure that your painting isn't divided half in half? This is good to lower. Third is your land form. Your graphs is and this is the Mountain Valley. Since our lesson is mountain, I say you wanna have a least you know, the top 2/3 Mountain. I left my paper a little bit bigger, but that doesn't mean I won't crop that out later. Run. So sketch kind of a random line. Um, be careful when you do. Mom turns a lot of beginner students tend to do I tend to do this for mountains. Okay. Um so be careful with that, because that's obviously not something you see all the time. It very often gets to be too breasts, and you want to be careful of that is your only mountain range. So I've seen that done a lot. You may want to try to avoid that. All right, I'm gonna start with the sky. I'm gonna have my paper towel already. I like to work from the top down, so I'm going to I'm just won't move this for a moment. I think so. Wet my sky with water. Clean water Climb to be as accurate as I can On that line off the top of your far away range When things air far, far away The colors The last color your eye sees is blue So my most distant mountains will be blue Very soft Almost a baby blue Um, as you come forward, more your light You like you can see more purples and reds come back in And then the last color you see clearly the last color The color you see in the foreground is yellow, yellow You don't see far, far away. So in order to show the depth in the painting you would have those yellows and greens in the front. You graduate, bring him in the further back you get, the less the less of the reds and the yellows air there and the blues. All right, so that's a good thing to know about perspective. Fury could do more research on offense. We're gonna keep this simple and fun. Um, I am gonna have some cloud cover in my sky because I love the way clouds cast shadows on your mountain ranges. I'm gonna do a little bit Mixture of cobalt blue and all to marine. I like things on an angle. So they move, they don't move enough. Either re wet your paper or angle it more so it starts to move again. Trying not to brush it all by hand, Trying to let this this lovely sky create itself. If it doesn't want to go everywhere, make sure you give it some. Um, yeah, I would like that. Mom in there. Okay, it's hard to see these lines. You want to be careful not to press too hard into your paper with a pencil because you can actually score, score the paper and then all your pain will creep into that. Okay, this is pulling in a lot, But let's just keep it simple to sit again. My sky isn't really my skies important, but it's not what I really wanted. Only thing I want to dio I could always change that a little bit if I showed you before. I like to turn my paper upside down, make a soft little area and try not to do bunny tails. Little bunny cop details. Try to just move your wrist around a little bit. If that looks like an animal shape when we turn it right side up, we can change it cause I'm doing this while it's totally wet. Still, just the time you want to pull it out, Turn it around. I think it's OK. Maybe this one had a little bit of an animal shapes so much changed that. Okay, that's wonderful. Now, while this is drying, I'm going to go into, um I'm think I'm gonna go into the foreground since I don't want to go into this. I know I said I was working top to bottom, but I'd like to be able to just keep going once I'm going. I want to keep going. So my life is going to come from the right So I would when I wet my landscape here of my lawn in front. I'm already kind of suggesting the light, hitting it in strokes like this and beams of light, so I may want to leave a little bit of a hyo total white and a highlight. We know we can get rid of them. We don't know that we can always get them back to pure white. If pure white is too white, we can once it's all drive against. Simply put a layer of yellow or something soft in there. OK, now you can choose to do this. You can also choose about each section dry. But if you're excited both of starting this like I am by all means start, I'm just gonna throw in all the happy colors. I have some olive green. I have some cadmium yellow. You can also hold this up straight, which means your vision isn't as good. So I don't want to do that. I did angle this a little bit, so my painting doesn't look flat. It would be even better if you could put your work up on a on an easel. So you actually looking at it this way? So you're really painting that mountain range, but it's a little difficult to to do the demo. That way. I'm gonna take a little ultra marine blue and some olive green. And I'm going to Well, just around a little bit of my hand can do that. I guess that's what my lawn is. Okay, Back to some olive green in here. Make the colors kind of throw them in there and then just pick up the paper and let it move . All right? You think? Want us to dark? No worries. You started. What? I'm wet, so we know we can lift it off. Be careful not to totally was my highlight there. Yes, you can. Makes a little bit with your brush. You just don't want to do this. Let's go back a little bit. All my colors on the bottom, my sky. It's not going to change right now. So much to worry. The only thing you want to worry about. It's an extra T bubble there. Okay, This could this perfectly fine as a first layer. As this starts to pull in, I'm a very well add some more greens to it. I'm gonna let this pause for a little bit, and I'm gonna lay it straight so it doesn't keep creeping down to the bottom. And that's our first beginning of our wonderful mountain scene. Please come back 4. Distant Mountain Ranges: my foreground has just about ride. If I lift up my paper and I feel that it's cold, which it is there still moisture in there? So you want to be sure not to just put your hand on it? I could easily turn this around a little bit while I'm gonna wet my sky is try while I'm gonna wet the very distant mountain range far, far away. And I'm going to get some worrisome cobalt blue, maybe with a little civilian blue and it's gonna be the softest. This is where you want to be Careful not to get your handprint in there. There is a little bit of color are my brush, which is fine. I didn't let it first. It's such a light color. I wouldn't go any lighter than this. So here I am, actually painting it in. That's fine now and then. You know that we didn't do that. Sure not See this? Let's look at it a little bit. A little bit more blue in there, having a little bit alter cobalt blue. You do want to show up against the sky a little bit, but sometimes it's hard to see the very distant ranges. You don't always see those right away. Okay, that's fine. Now again, if I did this next mild in range. Basically done. Wait. Once back there, if I did the next mountain range, it would believe right into this one. So I'm going to go into the into the range. That's this one. And what was fun with this one? I put a lot of purples and blues in it. And then while it was wet, I had these colors ready to go. I had my sap green. I'm sorry. I had my all of green. I had some wonderful ultramarine ready. I did put in a little bit of some of the reds. I think it was. That's probably not what it was, Carmine. Maybe, um, maybe it is. I'm not sure what I put in there. If we're doing something like a fall range, you know, with maybe the very beginning off foliage in New England, you might put that in. I grab something. Last time. I don't remember what it was, but I do like the way that showed up. So that's gonna be part of this one. All right, so we're going to again wet this mountain range, and we know that What? When we touched exactly where our pencil line is, it creates what we call a hard edge when we let it drive hard edges a little bit like an outline. If you don't want it. A certain places, you don't want it. But I'm a mountain range. I would want it if, however, against to be to think of a line. There are ways to soften that with our flat brush. And I will show you that if that happens. I'm not worried about the foreground here because I know I can put some girls in there, but I've made touches even, and just a little bit with water. This is where I want my tree line to begin later on. My lights coming from right. I'm just gonna move that so I can keep moving. There. You see it? Um I have some cobalt blue. I'm dropping in. I'm taking some ultra Marine first of this year. I got blue bluish range going. Then I'm gonna add a little bit of violet. This is a very staining color. Would be the valleys where the shadows air hitting. This is what I see where I went with my with my water. If I have a gap or my, my color shouldn't go there. That's when I would want to make sure I I help it out. If you were doing a snow painting, this would be the time you would have allowed for the, um he would have allowed for the snow, the ski, the ski trails you have actually drawn those. And this would have been a cool little passion. Snow. I don't want to snow right now, so it's going. But we'll do that soon enough. It did come and create a nice highlight. It's on the wrong side of the mountain because the sun is coming from that side. All right, we will play with a minute. So I do want to touch this hard edged via that has formed. That's a very nice high night. But I'm gonna put it on this side of the mountain just slightly lifting off with my brush because this is the shadow side of the mountain. I'm gonna put some darker blue in there Now I want play this straight for a minute because I skipped all huddling towards the bottom and I don't want that to happen too much. Do you want to stay? Wept because we're going to put in our our greens for our tree line. But first I want to make sure I give it a little bit. Marco. This one happened to have 22 layers of paint, and it was hard to to them to do that around the green. So I'm going to spend a little bit more time feeding this as it's pulling into the paper. This is kind of like fabric is just like cloth. So as it pulls in, just like we have a water drop all your shirt, it first since on top of your shirt and then after a while it actually pulls in on watercolor paper is the same way. You just have to give a time to kind of pull into the paper, and then you can feed it more more value. I prefer not to do a second layer on Lee because of what happened to me on that first painting. Um, if I did do a second layer, I would not put my tree line in, but I love putting my tree line in now pretty soon as soon as I think my mouth this where I wanted to be. So that's why I'm gonna just give this time to pull in and it's sitting and you can see it sitting on top of the paper. I just need to be patient and give it some time to pull it. It has a lot of life to it. I like that. But we all know that paintings drive so much lighter than we think. And I don't want to be disappointed if it's too soft. Yes, of course, you can go back into it like I did. It's just a little bit harder to dio when you have to feed it more color. Make sure you're if you have a large brush like I do. This is a number 10 round. Um, make sure it doesn't have too much water. And when you're adding more colors to this, so it's almost violated on the child will, um, I still want to feed it a little bit more color because this mountain range behind here is going to have less blue in it. So if this is to light, I won't see the contrast. So make sure. I see the contrast. This could be in the valley. The sun is on that side of the mountain. The cloud soldiers know about here, This clouds there they could be casting a shadow. You want to think about it a little bit, but you also want to just have fun creating cool mountains, Certainly picking up a little bit. And that's kind of cool, but wave we're getting there. The tip that staying light, which I like because that's where the lights coming. This is a little dirt here. We're down a little bit. Okay? I like the formation of the mountains and nice, gradual mountain range. If you have something in there that you didn't like, uh or perhaps you wanted to bring this up a little bit. I don't think I will, but if you wanted to, this would be in a time to just gently pull it up with water. All right, now that it's nice and wet, I am going to put in the foliage in the foreground, my lights coming from the right. I'm gonna take some caviar, me yellow And I'm gonna start feeding. Some mammals even know when you add yellow to purple. You're gonna get a gray if it's cleaned Every time you drop it in, you don't fully yellow all the way across will be fine. It will push that purple away turns wants to turn great. That's okay. Well, let it do its thing for a minute. The weapons of this is going to push some of those purples and blues up out of my way. So I do a second wash on that. Hopefully we will be calm when I wanted to be. Come her your greens. So just let them be one color. Help to grow up a little bit if you want them to be higher. But don't go too high. Keep it on the control. Because I wanted to be, I would skip around. It seems very purple right now. It's OK. We're gonna see what it does. Okay. Hey, that's going a little bit to the top there, Which is all right to do that. But I'm help it down just a bit now. You were worried that it's simply too gray. I'm not sure it is, but if you're worried, I'll show you a little trick ever so slightly. Think of the color. I'm gonna get some of those purples out of there, Okay? Once you have done that, base can be pretty dark rather than we went it first. I would simply come out with some clean yellow queen cabbie. Um, and then some Nice. My brushes Really wet. So that's two uses a sponge in the kitchen. You're just gonna later dab it up with a bunch anywhere you think you have too many dark values. You could do that. Don't panic. I'm doing enough of that for both of us. Anything. It's gonna work. Remember, we started this wet on wet. So it's this is really not what I wanted to do. I really like what happened there, but I'd only done one layer of of the purple. And I had such a hard time when I tried to dark my mountain. So now I'm doing the reverse of that. And I'm finding this a little challenging To see all this is purple with my but I think it's gonna work. There's gonna be more stubborn than papers being right now. That's all. I'm leaving a gap there. I love a gap in my mountain range. Remember, we're gonna pump some. If we want you, you gonna pop some of the burgess in the foreground laying around? Okay, I think it's going to work. But we have to just be patient and see that we like what we've done about the green up here . Come down just to hear and you see how much color I have here. So I'm going to tiff this baby on its side. Thank you. Zm off just in a section. That off. I want some of these purples Don't lose all my color. You see how much of it is already leaving here? That's OK. I think it's gonna be better if I do that for a moment. And here we go. I'm gonna let it grow up a little bit and when they it straight, cause I don't want hope towards the bottom, that's a really yellow spot there. So I one inches with fresh dried first, just a little bit off that, and I'm gonna let us just trying. I think it's going to find a way. It iss just highlighting their nice Um, okay. I think this may work very nicely. It's hard to always. It's hard to judge sometimes because you know such a murky mess right now. But hopefully we're going to get the look we want. I may very well come back in when this is totally dry and I will give it a second layer of a little bit more room for my tree line. I love how the lights there. I love that this is a little bit darker. Um, okay, maybe while it's still sitting here rather than let it dry, I just put a hand again. My brush is almost fried, Dr. Totally, of course. But I didn't want to give a little bit of shadow color in here. You know, a little brighter greens here, so I'm taking my brush, take some can, maybe yellow mix it up. I do want to carry as a tree line. I mean, I'm lucky. And through this right, it will only have to be done in one sitting, even if you're not sure that they have brush on your paper towel. Because at this point, you don't want to have a big blob. Really Saturated color. Ultra marine green mixed with olive green. I mean mixed with the ultimate people. Don't bring it them. You see, I'm just trying to soften those balloons a little bit there. Part of it, But they're not just about himself. I want to mix in it and suggest a shadow side to my greens. Whatever is going on in here that's helping. I like that darkness. Colors would be in the base. They would be on the left side here and there. Okay. Okay. I believe alone. If you're at least happy with my answer is just leave it alone. Let's go just a bit over there. I don't really want a dark out to darken outline here. At this point, I don't want to rub it off on my tissue because I don't want to lose. I really don't want to lose to color. I could if I'm worried about a really thick brown line, which I am a little bit. I'm gonna take a few scoops out of here, See how heavy this band is. You've been patrol. That won't change what you've done with color. You're just taking that on. That will create a really heavy outlined for me. I don't really want to be that happy. An outline wants it to be a gentle, gentle growth pattern there. So just using the tip of your fresh there's laying on your paper town with something All you need to do get rid of that. OK, I think we're good. I would leave it along rather than record. I think this one Fine. We're gonna let it dry completely. And when we come back, we're going to give this lovely mountain range more of a blue, mostly probably ultra Marine. There's a hint of purple in that one. We can do that. It has to be softer than this one. On that back, one will be that softest color. And then we're gonna play with graphs. Just give them a little bit more life. And I want to show you a wonderful trick to pull in your birch trees, which will give it a spark all its own. 5. Mountain Ranges Continued : we're back. We have let this first the dark arrange dry. It's definitely softer. I do see the little bit off, um, differences in the foreground. I think it could use a second layer of color, but and there will be no problem. We can leave the back of her amount in that way. But before we do that, I'm totally let it dry, and we're gonna work on this mountain range. So that's gonna have softer blues. Um, then this one darker than the back one. So we'll start that the same way as we have done all the others. And I'm happy with how lights is all the ones, right. By touching this border here, this line you will soften that hard edge a little bit on the everyone on this mountain range. It's concerned we have a definition it really sure, But it doesn't have to be a really dark a dark outline. This one is actually pretty good. But by touching it ever so slightly with your round brush, you are letting the water soften it just to hear I just want to take your time, not the water really creep in here. Soften that ever so slightly Careful not to touch your bank family here. Okay, Nice. So now it's fun to see our hillside become hillside. I have some ultimate arena. My brush Start on the shadows side here. This isn't Shadow. This isn't shadow. Maybe we're just gonna add some water here. Suitable creep. This is where you can see where your hands skipped a little bit, maybe. Or the water didn't quite coach where you wanted it to go. This is the perfect time to have some color so you could see what happened. Sometimes it's hard to see the web. The water on the west where you've been. Okay, nice. Sometimes it takes two layers of water, so you make sure it's saturated without Okay. Let's put a little cobalt blue in there. Oops. I did not want that to happen. It's all right. Could be some part of her cloud cover up there. See? It's creeping in there a little bit. Someone fixed that in just a moment. It's gonna let this more first you see how you keep getting a white edge there. I really need this to touch that mountains shape because it has to be behind behind this. It can just be popping up over it. So I want to make sure that I don't have a white gap anywhere. This making this outline a little bit darker. Not a problem. Okay, We're gonna take a flat brush on ever so slightly. Such likely softened this this this hard edge. I like mountains being strong against each other, you know, having a good outline, but we don't want to see a dark dark of late. Dry my flat, My round brush that a little bit. You were lifted off a little bit of the purple. Not much. I will turn it around because I don't want gravity creeping back into that. I may give my second my purple a second layer there later. Run. So if that's creeping in there a little bit Well, let it be for a moment. I do like how that is. I do want to add a little bit of very softened violet. You're there. So I laid it on the paper towel. Play with some water. Just mix. Sometimes the faster you do mountains, the more relaxed you are, the better they come out. This is where I would want make sure you have a point of what I wanted to be. Here we go. Okay. It is creeping into this mountain a little bit, so we're gonna let that happen for a while. And when this background dries, we will. We will soften that. Just give this a second little bit of a layer of off purple. Then after that sin, I will do my fresh green line, my tree line. Sometimes when you have white coming out of the two places like I did here, almost to me looks like a morning mist coming up. So if that keeps happening for some reason, you know, we'll just let it be. It's it's I waited a minute many times. Um, and it seems to want to keep doing that. I'm not a lot of water color. Could be the boss for a moment here. All right, so we'll have to give this just a few minutes. This will be a real shorts little session. While we're letting this do its thing. Just a hint of some places being the light and a dark valley is very effective. And when this is totally dry, this will won't be any problem to just give it a little bit of a bluish purple, a fresh coat which will only kind of bring down into here. And then we might just just go ahead and make this dry on wet. But as the greens begin to touch, that becomes a wet on wet. So I think this is worth taking my time and just stopping it. I'm happy with that. That want extremely fast. Sometimes the more relaxed and the more just that's just away from mountain range. I think the back one carries okay. As a really distant one, you could put a little bit more baby blue into it if you wanted to. I'm gonna think about that once. This one is Dr. I want to do that. But against the sky, it does show up. So this is definitely a back run. This is called a back run when the water is heavier and is pushing the paints away, not worried about it because I know I can soften that ever so slightly when we put our second layer and into the darker purple one. So go relax. We'll get a cup of coffee and serious drink and were gonna come back. We're gonna finish this painting right up. Thank you. 6. Defining Mountain Ranges: Okay, we're getting there. I hope you're with me so far. I saw that during while I was lying this dry I was We were talking about a back run before and what I did is I ever so slightly I'll show you on another painting I've done because I wanted this to be dry for us. When you see that happening when it creeps back and just gently take a slightly wet brush and just ever so slightly softened this and blend it in and it lifts off that back run can you need to give a time to dry? Which is why I did it during the break. I did lift off a little bit too soon because the start to creep in there No worries were going to, um, give this another layer of color. I want to take my ultra marine blue, and now that it's right, we can basically just go back in, leave some of the cool original colors you have, but do go back in and maybe defined that border. I don't mind that like being there. If that bothers me late Iran, we can go back into that mountain when this one is dry. It's like you just have to keep taking turns of everything. This one I remember we let our tree squirrel really high in there. Take a little bit of water softened that so still carries as a light highlight and Robin and go into the tree line. I am just gonna pulling in a ragged little line here and there so my tree line can be uneven. I see that we've lost the break I had in there. I don't know what that is. So that's gonna take a little bit more purple rather than see the whole line there. Not sure why that lifted off, But that's OK. We'll feed somewhere color. So by giving this a little bit of a random on even line, um, we can get our tree line back and maybe I will. I did like I did like a low part in my tree line or a break in the tree line so we could always but some darker colors back in here of the mountain. This is more work than normally it should take. So please just bear with me. Do this once like this, and the next time you do a mountain, flip it. And then, like we did that second, that one that went so fast. That's how really old amount and should go. Um, but sometimes you run into, Sometimes you run into some things that you didn't expect. So that's all part of the learning process, and we're going to go with it, All right? So I do want that to dry a little bit. So while it's sitting here under my nice heat lamp, I want to refresh the greens over here. I'm gonna take my yellow, so I'm not gonna wet it again. But I'm gonna go right on top of the tree line we created earlier. And my paint is not going to be super super wet. If I'm worried about it, I'm just gonna put it on my paper towel on this side on control of a little bit. Lift that off in a second, take your paper towel, make a nice little crease in it gently. Just lay it under there and scoop up where you went under way will cast a little shadow. So it's not perfect. It doesn't matter. Here. Looks like I wanted to go a little higher. That's perfectly fine again. We remember we have those dark sides on the right as the lights coming from the left. Some are left grow a little bit because I wanted to look like that's the mountain shining through. So we're just work around that for a little bit until it dries for us. Sometimes you may want a work of two or three different paintings so that you, you know, you let the different stages dry so that you don't have to wait so long between them. You make a couple little cards or you make a couple of different arrangements. These would make charming little gifts, and as a little painting, just a little. You know, I have some match. Later on the show. You have cool. That will look. They were made grandiose, large paintings, but I think it's always good to kind of work out some of the kings when they're smaller, so that the unexpected doesn't throw you too much. And I think that's one of the loveliest thing about watercolor, that it isn't always what you what you planned or what you expected. And that's cool. What happens at a little pains, great to my to my olive green. I see that this is pulling down. I don't want to pull down at this point. See how it's creeping down. I want to keep those colors up in my mountain range. Just pull them back up, then my laying it straight. You don't get the gradual pulling down, which, at this point we wanted to hold. We wanted to be vivid. It's still distant trees. You're standing over here. So you do know it's stuff going on. But you may not know exactly what kind of trees they are. You may be a little bit too far to see that. So yesterday are some yellows. And if you do see the sparkle, but you can't quite tell and that's that's the mystery we're trying to create. I like that. That looks like the mountainous back there. Okay, I'm gonna leave this alone. And while this totally drives now, I think that's okay. That little bit of a darker spot there, That lighter spots? Yes. If we wanted to make it. Look, I still see that line in there, which bugs me. Um, so I'm gonna just put a little dab couple ounce of purple in here just to break away from that line to see how they smuggled out in there. Okay. Very nice. Our foliage here, uh, probably would cast a shadow line onto the field. I can't do it right now because of which is bleed. All the green would bleed into this. Um, but once my birches get pulled out, they also would cast a shadow on. That may be predominantly the shadow I'm gonna cast out here. The light was coming from the other direction, and I only cast out of thin line of birch trees. Um, I think I may do the same thing here, almost suggesting that the birch freezes air a little bit more in front of the of the uneven green. The green is back further, so it might not cast us much of a shadow onto the field. It's a little simpler to do. I like this green better. I didn't like that. This is what I wanted to avoid for you. Yeah, we went along. We went around the long way, but it worked out. So who cares? The grass now we're going to deep deep in this a little bit. It's a little dull which always happens. So I'm gonna work away from my tree line. But I'm going to start feeding some more vibrant yellows and pastor colors of the meadow. We're still working on that wet on wet background before, even though it's totally dried. The lovely thing about that is that you really can't go wrong, even lift off. You can lift all of this off. I start kind of working with some of the patches I have. You know, again, don't just sit here and brush the whole thing. You really don't want to do that. You just have a a couple, maybe crash looks here and there. You certainly take a smaller brush later on, it's up to you to decide how much How much off detail you can see. I'm gonna wait just a while with reaching that line. Mind it, leaving a little bit into it to create a shadow line. But I don't want it to be too strong, which I know right now. It would be highlights in here, You know, I'm probably gonna cut a lot of this off, so play with it. By all means, especially, you know what's gonna be cut off It's a lot of fun to just play with your grass texture. It's a nice leading into the picture. You don't want to be that you don't want to have too much detail in it. If this is gonna pull your eye away from the vista here, which is, I think, what we're after, but you want to have a little bit of a texture. 7. Birches and Finishing Touches: we're at the last stages of our painting. I love the way this has dried up, with slightly hard edges pushed away. It's a buyback run on the background gives us the texture off some foliage, which is wonderful. When that happens, you don't have to do anything else to make that happen. I noticed when I was watching this before is a dry. This seems a little light in here, so I think I will give this a little bit more, um, color out without really touching that line, because I want to be able to pull out my birds trees. But when I do a little bit of color in here, it's not going to affect what I'm pulling out of a few seconds. But it seemed a love lighter here. For some reason, I'm not sure what happened why, but that's okay. By taking breaks and by taking distance from your work, you see some of that stuff. If you might not have seen such value stopping and making sure that things like this don't pop up after your frame them, you see them before that happens. That's better. Nice. Now we're turning it around off course pulling our birds trees. I was worried that I couldn't see the difference between the mountain and the foliage. The tree line. You can definitely see the difference. So that's I'm happy with that. I wasn't so sure when I was looking at it earlier that, um, that was something we were conveying correctly. All right, so when the homestretch, this is what? Obviously we're not gonna go anywhere near that with when they're blade here. Um, we just wanna pull a few hours, Usually grow in clusters. Young young birches go grow in clusters of, you know, two or three trees. So it's nice to start just with a simple This is a little bit of a grain to the paper, seeing something on a work with that I rather work with a couple of times going over it, trying to get that white line right off, because by doing a sick white line, you obviously will run right through the paper, which would be a real shame of this point again. Good course. It doesn't show up that well against against the white of the lighter tree that I'm sorry the lighter mountain range. That's fine. So let's look at this for a second, okay? We started with two. Perfectly fine. They could be happy there. Together, we could put 1/3 1 slightly away from it, becoming calls for a little baby here. This is so important to start looking at nature. See how things grow. This weapon a little side branch can shave your paper shows comfortable for your hands. Pull upward stroke. Okay, Good. I had to jump around, so I don't kind of work in order because it gets the very staticky that to me looks great. Let's put one in here somewhere. The nice thing also is they don't have to grow a perfectly straight. They tend to meander a little bit. They grow towards the light. I'm keeping this one with these. Went over the mountain range back there. This one I'm gonna keep under it. I'm not sure that I don't get anywhere near that. I don't want to stop my tree there. One scene into the next, or you stay within the bottom half a little longer so they don't get too close. This could have a little side that that's really sick there. The way you see that, it's OK, but you don't want to get any thicker than that. What is gonna go right behind this? One of a little bit? I turned around to make sure Like what I'm getting. This will probably take a little side branch here. Go to the mirror. You have to hold your work up to the mirror. Always still students that you could see some things that just don't notice. Otherwise, let's this war gets it gets this is still okay. But it gets a little weird looking. So I think this one means just go about here because in the other branch. Okay, good. All right. Definitely helps. Give even a deeper a deeper vista here because these are in the foreground. You can see that they're white. You can see a little bit of texture on them. Um, watch my birch video, and I would I could envision this with a really large emerging front. This one is true big. But let's man, you had a really large painting. Sometimes I just cut this things out of paper just to see if I like it. And then I just throw it on my work when I like to see this what I like to see a large birds painting Bird Street in the foreground. You know, basically coming off the work of my pages bigger and then pulling this whole office the end . That means this birch would have a lot of detail, which you can get for my lesson or from any any of the artists on skilled share will do. Phenomenal birds. Trees play with this. So it's always fun to come things on a paper and see what I like that I wouldn't like that . Ford gives you 90 in for another painting, which is always great. All right, let's see where we could put another one. I don't want to put him smack in the middle. See, One in here wouldn't be right in the center. And I think that's a really good idea. Did not do that, but this is a little green on the models. Maybe a little too dark green. So things that break in some color bring some white there. It doesn't have to be a solid white line. Please don't worry about that, because that's what you you might run into carry the paper, so that would be a little broken up hearings. Well, I want you. 123 Let's make this. I think it's gonna be over here. I always go back into a to I rather not stay in the same place too long. So afraid of ripping it. I've done that many times. I don't want you to do that. It's a bomber side branch Back up towards the light. - That's true. Going that way. So I want to be careful that my 3rd 1 doesn't do that. My just If you left a rake and the content would like to go with certain ways, come for your hand. So you see, they've been doing that you could get away with choose if you want to make sure you somewhere break Jeff battered. So this is breaking that up a little bit. Okay, I hope this way right side up is a little risky. What I'm doing, But such essential smaller I think I'm okay doing that. Okay. I think I am very tempted to leave just with three. Robert do Too many of them. If I go into this, captures all three of them, it's mostly going to be sky and Treat Vista. I mean, Excuse me. Um, Monkey Fist stuff. And I think that Kerry as well, you know, less is always more when you do this. It's so easy just to suddenly put in 1000 birds trees, and they kind of lost what's going on there. So let's see if this is strong enough to hold a shadow. It's still a little bit the m. So I'm gonna start up here so little wet there and what you could do with probably lying. Okay, this is a real This is a number one. You could do that, but I really put my mind Russia was finding. I'm sorry. Years. I really prefer a rigger brush with a long with a long whatever you're comfortable with. So again we come back. I want to take I'm not gonna wedding first. I'm just gonna take a water down Ultra Marine. You can weather first. We're gonna just hope that this goes well. And when I angle this starting after tree, we're gonna just angle this off. Kind of imitating what you see there. I think the same spot where you were with the colors, but one losing some of the colors. I'll go back into it, have to reload a couple of side, very interested to get and doesn't have to be in vivid, really dark line. Because again, I don't want to. I don't want to pull away from seeing We have going on the mountains. That's the most important. One stronger. I just saw care. I wanted to be strong. Okay, okay. It's good. It's tells us direction of sunlight. It gives a little room. Can I think for the other man is fun? That would work here. This is a really half 1/2 painting. So here you would want to be careful that you have a map that would be smaller than that because that's really divided in 1/2. Unless she went way down. I don't know if you want to do that. Just certainly could depends on what part of your painting you like the best. So it's always fun to play with things with mats just to give you an idea. I hope you do a good job on this. I know you will. I'm sure you will be more successful than I was here. Way worked through some struggle areas, and sometimes you encounter those when you don't found her Them on other things. So you never know. Every painting is different. This has his own challenges for me. But that makes every painting fund. That's why you can never repeat your own book. These were all once I've done the last few days. This one I did with you today. They all have their own charm. They all have their own things that I don't love about. This is probably my favorite one. I know we had some struggles there that work out. So please share with me what you have done. Um, I can't wait to see your Thank you so much as always for joining me.