Paint intuitive Watercolor Landscapes with beautiful Textures | Camilla Damsbo Brix | Skillshare

Paint intuitive Watercolor Landscapes with beautiful Textures

Camilla Damsbo Brix, Teaching Whimsical watercolors

Paint intuitive Watercolor Landscapes with beautiful Textures

Camilla Damsbo Brix, Teaching Whimsical watercolors

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9 Lessons (1h 13m)
    • 1. Welcome to Class

      1:26
    • 2. A lot of Tools and Materials

      3:09
    • 3. Limited colorpalette

      5:34
    • 4. Creating the Composition

      4:03
    • 5. Creating Textures

      5:00
    • 6. Landscape 1

      18:19
    • 7. Landscape 2

      20:15
    • 8. Landscape 3

      13:27
    • 9. Let's wrap up

      1:20
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About This Class

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We can’t ignore this big trend in watercolor - landscapes. And why would we do that? They can seem a little daunting but they are so much fun to paint! And in this class we are going to let our control stand outside the door and just let our creativity flow. Because we're going to tackle the landscape with 3 experiments - trying out a ton of different tools and materials.

WE’LL COVER

  • How to create a limited color palette
  • Create texture
  • Make a beautiful composition with a clear focal point
  • Learn 3 ways to paint the same landscape in watercolor
  • Get inspired to use what you have in your home to paint with

So grab your brushes and come paint with me.

/Camilla

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Oh yeah and I would love to see what you create! You can do that in several ways:

  • Share your project in the project gallery
  • Share your art on Instagram (tag me @camilla_damsbo_art and use #camilladamsboartinspired)
  • Share on Facebook and tag me there too (@camilladamsboart)

Meet Your Teacher

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Camilla Damsbo Brix

Teaching Whimsical watercolors

Teacher

My name is Camilla and I’m a danish watercolourist. Mostly I paint whimsical flowers which I share on Instagram as @camilla_damsbo_art. Here on Skillshare I love to share my knowledge in fun and easy classes on watercolor and ink and I can't wait to see you in class.

I would deffinitly say that watercolour is the most magical kind of paint, and all you can do is just know a little technique, loosen up your brush and trust the process.

 

NEW CLASS COMING SOON!

If you plan to watch one class this summer I advice you make it this one. It will launch very soon and you will learn the very best technique for your summer vacations or staycations - Watercolor and Ink! you will learn to draw 5 flowers and then bring them into a s... See full profile

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Transcripts

1. Welcome to Class: I got and welcomes class on Camilla, and I'm a watercolorist from Denmark, and today we're going to explore a concept that's called it abstract intuitive. Hence cave paintings. Very straightforward. It's landscapes, failings, and it's all about having fun and letting lose. I have an example here, and this is Look, that's project as well. And the class project is just very straightforward. You choose one or more materials that I present in this class and just try out an abstract landscape of your own. We're going to paint this motif from a reference photo three times. So, uh, we can explore different techniques. We're going to work with the limited color path. We're going to have fun with a lot of different materials to create texture. So all this, uh, weird stuff here. We have so many things, um, to work with. So there's going to be so much fun. I can't wait to see you in class, and I will start by taking a look at this huge materialised on. Don't worry. Don't need to have it all. This is just inspiration so you can get experimenting yourself. We'll see you in there 2. A lot of Tools and Materials: Now let's take a look at some materials were going to use for this project. And I have a nuke ambush and a Prussian blue and a quinacrine Sienna on troop. Um, I'm gonna use the true colors, but I'm I'm going to use them in this palette. But I'm also going to use the these pants were squeezed in the paint and just let it dry. So we have both dry and with paint. Then we have brushes here. Thus e flat. Brush your this size for very cheap synthetic, but working really fine. The big round brush with the fine separates. And 11 a small but still size That's him. A round brush flat brush in size 16. I think it's acrylic and a fan brush incest to. So we have a different variety. And if you have different brushes, then use those. I'm using 300 grams. Ah, motorcar paper. That's 100% cotton. Uh and ah, it's not glued on on the sides in that version, But use a glued one as well. Of course, the paper and water and that was all the regular materials. Now weaken. Go to the more unusual stuff. Just gonna put this aside and, uh, we can take a look at it because we're going to use a lot of stuff. First of all, a credit card type of thing. A water spray. It is a small water mist spray. And I'm gonna use a very big water spray as well. There you go. This one is for flowers, but it works perfectly with painting a scissor, some gauze. But I found my first aid kit in the kitchen and just drag it and use for beautiful textures . Then we have some, uh, cling wrap. Yes, I did break this a lot. So messed up, but it's good for curling up and just using full texture. So we're gonna use that salt table salt. I know we can experiment with a lot of different salts, but for now, this is the one we're gonna use and some Sylvain, it's just for some regular I don't know, something a gift or something like that. And that is all we're gonna use 3. Limited colorpalette: do you know the feeling of just loving colors? And then suddenly you have a way to many and they're all over yourself. They are just confusing, and, you know, I don't know where to start. I know that. And I know also that a lot limited color palette is a great tool, especially when we're doing these landscape paintings. So I challenge you to, uh, to choose a few colors. And the reason I'm doing that it's because of these points that I just put down here. You get a more harmonious painting. When they're using a few colors, you have more room to play around the texture and experiments. It's actually a lot of dramatic, I think when you have only a few colors to play around with, and it's so much easier. You don't have to think in the 10 No. 20 colors yuk unjust. Think about three and, uh or even less and just have a go with it. And then it's a great way to get familiar with color mixing. So where it's just about having fun and seeing where your few colors lead you and I promise you it will be beautiful. It's just too jumping and see what takes you as an artist affords. I have some preferences. And this how I love to paint landscapes. I love to choose three colors and then this landscape I'm showing you here. It shows two colors that are super close to each other. In this, the bluish purple tone. It's the Paynes, grey and moon glow and then one accent color. And in this case, it's new combos. And you don't have to choose these colors, of course. And all you have to do is be mindful about the color wheel. And yes, we all heard about the color wheel butts. Take a look at it anyway. Here we have it. And don't worry, I'm not gonna make you paint this. I did it, did it for you and actually did this a few years ago just because I wanted an idea of which colors were opposite each other and and that way was complimentary and which ones were close to each other in the wheel. So you can see I chose the the blue and yellow tone Oh, blue and purple tones. And they compliment civil pretty with the yellow and kind of orangey tones. So that's beautiful. And I'm gonna work with that. You can totally just toe choose other colors and that that would look beautiful. This Well, just remember, when you're choosing complementary, we're going for a dramatic look. When we are choosing the colors that are next to the others. It's more harmonious in the mellow in A in a way, no, I just want to take you on a a little tour off. This reference photo that we're going to use in the class project I chose is for all three landscapes that we're going to do, Uh, because I want to just shoes up color palette, and then we can work with texture and focal point. So here's the colors that I'm using. First, I'm going to start out with the Prussian blue here, and it's a nice, uh, deep blue, and this is going to be my cool sky. I just want to have just dipped a little different tones and here just to see how it worked , I'm going to complement it with a beautiful, beautiful, warm quinacrine Tiana these old Daniel Smith, By the way, I think this is such a beautiful color and and just dipping in some tones as well. And in this painting, I'm actually going to have a one cool and then the two warm colors that are close to each other in the wheel. So this 2nd 1 is new composure, and the reason doing that is because I want my I want my my focus on you saw in the reference voters. There was a lot off these warm, earthy challenge, so I wanted that to be my focus, and therefore it's a nice to have a little variation in in the in the warm tones, but I'm going to mix it up a little just to see what I can go with these colors was the Prussian blue and the Sienna, and it's a beautiful, cool green. I think that's lovely, and you can see how it really goes together with the other tones. Um, I just putting in a little more here. I actually got a little more earthy here because I put more CNN and that's something you can just adjust when you, uh, going going on in your painting. I'm just mixing it as I go in the palate, so I'm getting a lot of different tones of green. I'm trying to combine the Prussian blue and then you compose just to see where we can go with that. Let's just see here, and that's a beautiful, uh, we're clean, clean green. And that's so beautiful. Let's see where we can you go. You can just compare it a little. Let's see what we can do with these cars. 4. Creating the Composition: now we decided which colors to use. I want to talk a little bit about how to get the focus in our composition that we we want. And we want a clear focal point. Um, there's two examples here. Um, we want to the mindful about where to lead the viewers eyes. And how do we create a focus like this? I have a couple of tips that I use in my own paintings. I'm gonna show you examples off all for them. These are just tips you can find more the inspiration, Of course, online if you're gonna go there. But these are my tips. First of all, used a dark value. If you want to create for us used texture and detail to create it, use white space or even use lines, too. Point the viewer to your focus, and I'm gonna give you some examples so we can go a little bit more in depth with this. And the 1st 1 is used, the darkest value and this one is easy. You just give the the focal point the attention off your page, darkest value. And then you just paint all the rest in a light of earlier than that. And the a good tip is to use your complimentary color in that dark value us well conceived . Here it's, Ah, a new combo. She think, where you where I want my people to look. So it's very dark in value compared to rest, and it's also complimentary, so that works really well. The next tip is to use texture and detail to lead the I and you can see here. It's very easy, Teoh. Figure out why I want my You're to look. Um, it's very simple where the place where you have the most detailed is where you want the view to look. And it's a good idea to have a very detailed subject where you want us to look, of course, and then have some less detailed subjects to make the contrast even bigger. So I can see you have those trees in the background that's not detailed it all, And then this beautiful tree in the folk around with this super textured the foliage so you can play around with texture and detail. Another tip is to use whitespace Teoh, create your focal point kind of late. The white of the paper just wrap around your focal point and emphasize it that way. And the reason it will do that is because we have this white space that just contrast really well with a nice stock value at your focal point. So here I'm using the white in on the horizon line and really wraps it around this beautiful tree that just stands all alone. And and it's very, very easy to see that this is where I want my beauty to look. Also, you can see a used texture in the tree, and it has a nice doc value compared to the white. So the last tip is to youth lines, and this might be a little literal. A little little little rule, but it's is to be effective. Uh, try to implement some lines to guide the viewers eyes to your focal point here. I want my you want to look in the in the horizon line, and that's why I have my dogs value. So I have some lines. That guide said, um, both in the first wash where I have the lines in the sky, but also in, uh, in the foreground. Where have this the's rocks and stuff they have got the viewer into the painting. Also, I created some lines with a credit card where direct lines from the horizon line, but will go get back to that later when we're painting with credit card. And now let's take a quick look at how to create some beautiful textures. 5. Creating Textures: assessor earlier in this class, we're going to experiment a lot with texture. You can see. Here s so I just wanted to give you a brief overlook which Texas we're going to use and how to use them. I'm just going to start by doing a little swatch here on top left corner. I'm going to use the same color for all these. So it will be easier to see the difference Just putting down a good amount of pigment. So it's not too light, but the texture has something to work with. And I'm gonna put down this cling wrap. I'm just gonna ruffle it up a little and put it down here just holding it down a little until it kind of Ah, except it's destiny. And while I'm doing that, I'm just doing another switch. Go next to it. Make sure when you, uh, putting on your texture material that you're your paint is wet. If it starts to dry, it won't create the same effect as, uh as we desire. So the cling wrap is placed night and I couldn't place a piece of cellophane on here. Just very, uh, carefully without messing up the color swatch underneath. You can just cut out a small piece of cellophane or bigger piece or whatever you feel like . And my my next sculpture class is going to be on sexual. So we're going to be going more in depth with these techniques and more because creating texture and watercolors so fun and it can take your painting to a whole new level. Yeah, I'm just putting on some salt and this color swatches not super wet. It has a nice gene to it, but there's no puddles or anything. Don't put sold on If it's too wet or too dry, I can almost experiment a little with it. But make sure that it's has assumed, but still doesn't. The water doesn't roll off the paper or it gets too dry. Okay, this is Gauss that I phone found in my first a kid, and I'm just messing it up really good before putting down my paint. If you do it after you put down your paint, suddenly it'll drive for you. You won't be able to get the effect that you want, so I'm putting down good amount of pain. Here they go, and now I can put my guards here. Oh, careful. Just tapping it a little. And I'm applying more pain to the to the peace, and it's really nice. And so you don't have to do it everywhere. Um, but this gives a nice texture when you just doing it in places, random places. And you can do this with another color as well. Of course I'm just doing it with one to see the effect. And now we can let these swatches dry and come back to them in a second. Okay, Now they are all dried up, and I'm gonna put this in the frame again. Uh, let's try to remove them. First, we have the cling wrap and created some beautiful formations There on the cellophane has a very subtle effect. The salt created this beautiful frost texture, and the God's created kind of a dramatic effect. Uh, we can take a closer look at these. Um, here you go. You can see how the cling wrap created this unpredictable pattern in the cellophane. You can you can see the the air pockets in their sold is just beautiful. And the gas is very dramatic and almost shows the threats in the in the come. So these are the pieces and now it's time to get started on our first landscape. 6. Landscape 1: So now it's time for our first painting. And I'm just a wedding. My sky here in the not entirely but kind of in random strokes. And then I'm taking my water spray. This was the bigger water spray, so just it's very super random where we have our pools of water right now and now I'm just driven in some pigment, some paint here. You can see how it's bretz nicely. I wanted to be a little darker on the top, so I'm just putting in some more pain there. Hey, can really see the magic when, uh, when the pain hits those pools of water that the spray created it grace this beautiful texture that you can't control for the world. And it's so beautiful. You can see I'm being super random about where I'm putting my my paint down. Um, we have clouds, no reference photo, and I do want to to show some clouds here as well. So that's why I'm leaving a lot of of white space. Um, but it's very random, and, uh, we'll just see how it turns out. I'm just putting in a little bit of this una so it's now. It has a green tone. I can just go in and create another tone here in in the sky, which is actually going to be a mountains. So this is the background mountains and they, uh, flowing in nicely with but the sky color as well. You can see I'm leaving white space again just to breath some life into into the painting here. More sienna. So it's little darker. I'm just adding a color as we go into my palate. I'm not thinking about having one color for this and one call for that. I'm just trying to just add a new color when I want some a new tone in my my painting. I'm just going to tip the page here a little so the water can flow and I can just take some of this excess water that was on the edge. We don't want it to stop trying there, because it will make some annoying back runs on our paper and on our wash. So try to avoid getting too many puddles. Hey, I'm just letting it flow a little downwards just because I want my the direction of my sky . If you can see that too to get go down. Um, like we talked about before. It's a good idea to have a direction in your painting that is towards your focal point. And since I want my focal point to be in the very beautiful, beautiful middle ground, actually, um, it's a good idea to have those lines in the in the sky. So him just the sky's still wet second drop in some darker color here. And, um, I mentioned this before, but I am going to paint this exact multi three times just to give you an idea off what to do and the how to interpret a motive in different experiments in there. Sometimes it's It's a good idea to paint the same achieve over and over again because you get so much more inspiration when you do it like that. Um, the first time you painted, it's more about just almost cupping the reference photo. But if you paint it over and over again, somehow the matif will get stuck in your brain, and you can start to experiment and, uh, be a little more free in your strokes and in your methods. I'm just lifting up a little color here to a party s about the noise here in the background . That's just my cats walking in and out off the off the door. Sorry about that. No, I can let the painting dry and come back to it. And here you have it. It's a beautiful, beautiful color, this painting astride and you never really know how it will look until you have it in a dryer version. I love how the mountains really just melted into the into the sky. And I really do recommend using a water spray to create these beautiful on predictable patterns. I think that's just beautiful. Okay, I'm just mixing up a pretty thick the portion off the Sienna on duh in the blue. And now I want to create this mountain top that we have here in the in the middle. And I'm just spreading out some of the pain to create some different stones in my my mountain. And we want this mixture to be the thicker than the background. Um, for several reasons, one is to actually be able to cover the background mountains so we don't have a transparent mountain that would be a little annoying, but also to drag the eyes of us I into the closer into the focal point. You can see I'm being super random with how I'm using my my brush. And this is it's an abstract. Um, uh, kind of abstract painting, but also intuitive painting. So I'm just, um listen to music at the moment and then just going with the flow and I did straight off the music for you and you're welcome. Otherwise it would be really annoying, But you can put on your own and the I think that's better. But here I'm just doing strokes to kind of show the direction of these beautiful fields. And I'm using this this, uh, wonderful, earthy tone. Um, the thing I haven't mentioned in when I talked about color is that you probably know this already, but warm colors draw that if you were in and seems closer, and the cool colors kind of seem further away. So that works really well with our idea off having a the focal point where this beautiful sienna warm tone is. And I'm just really just dropping in different colors and you can see how how well the colors go together, even though we I only have three colors. There's so many. I'm using the small spray here, and I just want to get my water to paint of flow in a direction. There you go. Just a little there. Be careful when you spray because it's can be a little hard to control. But I think it's a great way to get the cut, the paint moving and the just get some water under page and do something that you can really control. Him just random strokes here, and you can see I'm only using this brush at the moment. That flat brush that's super cheap, flat brushes. Not much. There's not much to it, but it's just that sometimes nice to use a different brush and what you're used to. I often I think people use, ah, round brush that's totally fine and works really well in a lot of cases. But often when you want to, especially paint intuitively and just go with the flow and when you want to paint abstract , it's good thing to just switch it up and see. What can this do on? What can that do? Just used experience experience, too. See what you have, what is that brush that you have laying around and never use? Maybe that's gonna be your favorite brush. Never know. See, now I'm just putting some salt. This is regular table salt in my hand. Just putting it, um, here on the ich off the mountain. And I do want to create some texture there. I'm not completely sure this is gonna be good, because the color is so light. Um, just doing it in a couple of places and weaken. See, Would what it will do. Just make sure when you put salt on your paper, make sure that you are not going to paint over it until it's dry. Is sold. Is kind of a heart to your brushes. So if you don't want to ruin your brushes, just don't go Ni assault Don't go near. So don't, uh, don't dip them in Seoul to be close to chips or fry. So anything Don't don't don't just don't do it for several reasons. Him just just a taking some off the excess water away again can see I'm working two towards some death, a darker tones here and just did it a little bit of split earlier. Not sure it worked, but you never know what experience what will work in water bottle. Now I'm trying to do what I preached, so I took my brush that I've haven't used in years. It's a fan brush I have had since I was almost in in preschool. Um, I'm using it for grasses, and I love it. So this is not going to be the last time I'm using this trouble with with the finding out that it's actually a great brush is that it can sometimes be hard to stop. But we'll see how it goes, just doing a little bit in the foreground here just to give some texture. And now we can let the painting dry and make sure it's completed right before you get back to it. Now it's dry, and I could remove my salt, and it created some nice texture here in the in the places that I put it. I'm not sure it works really well here, but it did create some texture that I appreciate. But I think next time I'm going to try something else thing, I have to to give it a thing about how to use this in a painting like this, but OK, somehow I like, especially on the bright side. That's pretty cool. OK, that was my head again. Sorry. Um, she's in. No, Um, just putting down some darker color here and trying to define some off the itches again. You can see how dried very smooth, which is really cool. And you get that with, especially because of the water spray that really deluded the paint. But I want some different stones in my colors and especially after we talked about this this concept off having the darkest value where you have your focal point and I wanna I'm trying to see if I can achieve that and always in water, cause it's good to have both the light values and the the doctor values. And we have a lot of white space already, but we really want to to see if we can push the ducks to I'm just doing some some, uh, strokes that can show some direction on these background clues. Um, and just adding a little shadow here on the on the side. I feel like this foreground is way, way too Teoh light. So that's going to get some some color as well. Not covering up my my grasses here distant trying to I am going to make more grass and in a darker value. But it's good to have some light as well. So we have some dimension in in our grasses. You can see how high I'm actually holding the brush all the time. And that means I'm not. I'm not 100% control off this. A lot of this is, uh, just a brush doing the work. And sometimes it's very, very healthy had suggest kind of just let go off control and just adding some shadows to the mountain. Not too much. But I wanted to give it something because it was a little flat. So even though I don't want it to be in the dark value I want, I still want some shadow on it. Go more grasses. Such a fund brush. If you have it lying around and haven't used, you really got to do it because it's great things good for for a swell and then just a lot of grass. Grass. Crestor? Yes. This is where it gets a little hard to stop. You can see I'm just trying to turn it up upside down and two tired and just see what it does. You can just do. You can move water. Okay? This is a really cool brush. It's a big recommendation to try to to find a brush and just play around with it. Okay? Just adding more color now. And now is the time where we really have to be careful not to overdo it. I'm just trying to add a little bit off the off the red, the sienna to the mountainous. Well, to kind of let that I go from the background to the foreground. It's like one of those lines that we talked about, Um that could could lead the the viewer. And I'm just mixing up some pretty thick, dark color here because it's still I feel like I can push the tax even more. Um, so I'm trying to again makesem some beautiful stocks on the mountain, not over doing it, but it really needed something to to be pushed. Sometimes you really have to go beyond where you feel comfortable. Um, and it will dry lighter, So don't be scared that you suddenly put way too much, Doc. You chances are. You didn't. And now I'm just standing back for a second to see if, uh, this painting has older need. And I think we're just gonna push the docks here a little more just to get it nice and collected and also have the same tone. And color s waited up on the mountain. I think I'm pretty happy about this result now. Um, of course, there was something we could learn from, but I'm very happy, especially about that grass. I love it. And I love the mountain as well. So I think we're gonna call this be done peace and let's hit over to the next landscape. 7. Landscape 2: So now we are ready for our second link landscape here, and I'm just OK, this is going very far, but it did speed up the process a little. I'm just waiting this tough part of the paper and I am putting on a lot of water. I want to try to make this in a lose. When, What technique? So I'm just dropping in some some nice color here and trying to to remember that there is clouds in a reference for so I want to to preserve some of the white space, Um, but not being super precious about where to put the clouds. These adjust shapes that happen. And I'm you can see I'm lifting the paper a little at an angle just to get the the pain to flow a little. You can see this streaks of paint in the top left corner. It's kind of running into the the white clouds and that's beautiful. Just added a little green here, um, fulsome shadows and that is it for the sky. Now that it dried just a little. It's not completely dry, Um, but now I'm going to mix up a blue with a little bit off the Sienna. So it creates this nice grace green tone, and I want to create the background mountains with his tone. Um, and the reason I waited a little was to you get the sense that the the mountains are still flowing into the water on kind of mixing with the sky. Um, but also not mixing so much that it would just kind of melt together. Ah, I wanted to be visible that it's actually a mountain. Um, but you can see how it it's already flowing into the this guy just creating a beautiful transition between sky and background Mountain. And right now, I'm just finding my cellophane so we can do a little experiment. Just, uh, cutting out some. Oh, those are here. Sorry. Um, just cutting out some small pieces here, and I'm just laying it. Oh, now that was okay. That's that's okay. Just laying it down here on my paper and they're a swell. Be careful about where you put the lines of the cellophane. That'll show, of course, but this is it. Now we can let it dry and compact it. Now it's dry, and you can see how lighted dry compared to how to look just before that. Skye is stunning. I have to say that it's beautiful. I'm just removing the cellophane here and now we can go in and work with the middle ground and this where I want my my point of interest to be. I think, um, it has this stunning color, this warm tone. So I really want to to capture that and just lead the eye into these warm colors and that the view api also happy. So I'm just, ah, wedding the area where I want my my sienna and just dropping in some color. And while I'm doing this, I am listening to music so on, I'm trying just to move my brush to whatever the music feels like. Seriously, I'm captivated by that sky. That's so beautiful. I have to do this again a more often. Um, you go just dragging down from cholera and dipping my brush in the water and you can see I'm holding very high on the handle of my brush. Um, just going in with different types of color and but still in this very limited Carl Appellate, um and just letting the water kind of move the paint around, even seen the reference that we have this big mountain just peeking up here and I want to create that, Um, let's see how it goes. I have these lines from the cellophane at the background mountains, of course, and they might be a showing through the mountain. But we'll see how to how to work with it. Right now, I'm just putting in the shape. It's not exactly the same shape as is the reference, but it's kind of just an interpretation. And I'm just dragging down some of the green here to create those beautiful fields. And you can see how dark the tones in the in the middle ground is compared to the background mountains. And that's but we talked about before to create this dimension in our composition so we can lead the viewer where we want them to to see stuff. So even though I could create some texture on the mountains in the background was very subtle effect in the it doesn't really remove the point of interest, and I just tipped the paper a little so the water could flow more natural and just leave the pain. I'm just putting in some clean water and just letting it the touch the itch out there just to that the water drag down some paint and the kind of show that itch off the mountain. Just you can see how random the I'm just putting down collar here at the moment doesn't really look like anything, but we're going to create some texture and make it work. You go. I'm just going to use my girls now to create, um, beautiful texture. Hopefully, eso I just cut out a piece and, uh, just dragging it like this to get the threats to to show and hopefully this will help us create some beautiful texture. I'm going to use this mostly in foreground, because that's where I want my my texture. Of course, that is the most texture toe area, the foreground. That's what you where you can see the most, Um, and especially with this type of texture, I think the causes great gives a little bit of a dramatic effect. Uh, in the in the in the texture. So that's why I wanted in the foreground. And hopefully it will give us what we what. We want him just putting in some colors, different colors that, uh, still in our color palette, I said, Just me, Is it a little bit confusing that there's this pink in my palette? I think it's a big country. Oh, feel and stop myself before extend Lee uses. That would kind of ruin the effect. Just putting them a lot off pain here and also water. So it's not just very thick paint put, it's watered down as well, and my next class is going to be on texture. Um, So, uh, we couldn't go in depth with creating textures and see how the benefits are off different textures. Oh, different mediums. No, I'm just driving down some water here to create some lines. Um, I'm not sure if it'll actually do that, but do want to make some a small canals here with water. So that's some place for the for the pain to run. And the good thing about these landscapes is that you just can you just sit back and experiment and have fun with it and try not to be too precious about it? The point about these just to have fun and relax, So I'm just going to put another cause here, I think Ah, on the mountain to create this, uh, Rocky look over the mountain. And I know that it's not in the foreground. Um, but a do I want this anyway, I'm going to use on this color in the focal. And I used the both the yellow and sienna blue in kind of random places here. I'm trying to just use well, a little sienna, but mostly the group Just mixing it up in the palate, putting it on. Now try to lift the gas a little to see where I was actually painting, because it can be a little hard to see the actual mountain. When did this cost girls or on top of it? Now, let's let it dry and come back to it. But wait a second. This does dry kind of wobbly. We are using a lot of water in these exercises, so I'm using this water spray. They go is for flowers. I've never adjusted for flowers. Just bring the the back off my paper here. Nice and wet. Make sure you, uh, spraying all over the back. So, uh, it'll all get the nice and most now it should. You can just let it that it sit. And it should, uh, even out itself. It's just a little trick. Yeah, and I didn't use enough water. Um, they, but it does work pretty fine if you don't want to. Teoh tape it to anything, and now you can let the painting dry. Here you go. Now it's all dry and we can use. We can remove these guards is and that look really nice. And up there there's a nice, subtle texture that's cool, too, and I just want to I want to add more color because did dry rather light. And we can see in the reference that this this beautiful night going on. So I want to brighten it up and the see if we can get some more the luminosity in our color . But seriously, it's beautiful. I love those muted colors, and we don't want to cover it all up because it's it's beautiful in itself, and it creates some some beautiful depth to keep some of the faded color in the background and middle ground, and then just focusing on where you actually want the viewer to look, um, with the MOCs more mo color I'm just putting my brush on the side and the kind of dragging a little dry brush in strokes here just to get some some direction on the on. Those feels up there like dry brushing for for the texture as well is a great way to actually just use the paper that you have at hand. And isn't it amazing how many tones you can actually create from using just three colors? It doesn't look like just three colors Here. It's, uh, there's so many, so many colors on. The reason is that I'm just mixing on the goal here in my palette and just using whatever happened. And then the little mix again on the paper and great. So money, different colors. I know it's a little bit harder to control, but we don't want to crowd control that much in a painting like this Here, concede Dr Washing again just to create that beautiful rich ich on on the mountain here and this is white so we don't overdo it with the color on that. Just going over the edge here. Little just a little shadow here and there. You can see it didn't cover up any off my original Uh huh texture. Otherwise, it would be silly to to make it so we want I want to preserve the texture that would create if we like it. And if we don't, we can just paint a word and try him just dropping in some color here, full shadow. And we are going from light to dark. So I want these stocks to be, um, in, especially in all the areas where we want you to look. Um, the darkness correspond so well with the light, and the really emphasizes the color and the light. So don't be scared to use some darkness. And now that I put down some more pain, I actually want to create a little more texture up here. And yes, this is actually the cost that I used before and it Issa soaked in paint, and I know that, but that's okay. I don't want I don't mind that it, uh, it's show through when we're using this limited color palette, it doesn't matter at all. It'll just, uh, give it more interest. So that's totally fine. One of my biggest issues with painting Also painting like this is to know where to stop, and especially when you're working with weird materials and experiments, it can be an art form in itself to know where to stop. So, uh, try to take a deep breath and just maybe go for a walk and, uh, take a look at it when you come back. Oftentimes it's actually time to stop when and you rather just continue. I'm just speeding up the process a little. Um, I think it's time fall letting the painting dry. So I'll see you in second. Now we can remove our second layer, Of course. Here, let go. You can see how created some beautiful texture again. No. I'm going in with some nice dark tones here to create some some tips in our composition here and the dark tones of going mixing with the Prussian blue and the Sienna. The, uh, complimentary is to each other, and they create this nice doctor. It's not black, but it's ah, it's stuck and the beautiful And I am just going with some some not so both watery Sienna. So it's ah, nice and bright and just dragging some of it down here, uh, again, with my dry brush on the side when you can see how that easily translates into a different texture than on the ground or the mountains. So that's pretty cool again. I'm just emphasizing the inch, just doing more color here in the foreground, really being careful not to overdo it. And by the way, with that tissue, isn't that just Ah, that's just a piece of art in itself. All the colors that just work so beautiful together. And I think we are about to be finished on this painting. I'm calling it done and I will see you in the next landscape. 8. Landscape 3: So are you ready for your last landscape? This one is a little different than the two others because we're going to start out with Tuco's. So I'm just putting down my blue first and then Miss Jenna, and that's gonna be my the colors in my sky. Nothing. Sometimes it's it's so fun to experiment with with true colors directly as well. It's a lot different, and it's a little harder than just with the regular it right up pants, but it's super fun. So I'm just waiting my sky again here and, uh, make sure to put on a lot of water because we want the the paint. Two really flow around and do you do its thing? So this should be really, really wet, but only on the top of the paper. And this time we're going to to to paint the mountains in in the background mountains in this go a soil. I'm not sure if it will work, but I think we should try, as you remember last time that he really just bled into the sky. Nothing. That was beautiful. Um, but this time I think we're going to make it blend it even more. Okay, I'm taking my credit card here. Not sure that's called is not credit card, but And look how that flows. How stunning is that? Just working with the edge of my card here and tipping the paper a little soda. Just melt into the water. And this is such a meditative thing to do and see, I just created a little bit of shapewear, wanted my mountain, and this is I just did a little bit off off pain on the dry paper as well. So it created some texture, not just tip my paper so the pain will run and flow with the water, and they could just to find us a little more. So we know this a mountain there and seriously, isn't that this is a fun way to paint? I'm I'm addicted to this painting in a method at the moment. I think it's so fun. Um, you can just add more water with your brush, whatever you feel like it. And as long as it's wet, this, uh, want Teoh mess up your wash, but when it dries up, it'll it will create some marks and lines. And maybe you want that and then that is fine. But just a be mindful that that might happen. Look out, there's a flow in the direction to the sky. Now that is so cool. Who said that this guy has to be boring? Just let it to go a little bit of water there. So we avoid those annoying back runs get really such a beautiful, vibrant color. When you're using these two colors come just it dropping in a little more water. And yes, I know that's at the moment. There's a very big line in this guy, and that's not what I meant when I said we should have lines too guide. But I wanted to create some some background mountains, so I wanted to the the paint that was in the horizon line to kind of spread more in the Grayson shapes. I'm gonna do something about that silly line in the second, and you can see here that it's it's so important to have enough water. Otherwise, you would never be able to let the war that the paint do what what it does. But if you have been of order then and it'll it'll work smoothly, hopefully otherwise, tell me in the comments. If you have in trouble trouble with this technique because I'm hit, I'm here to help, and I really try to answer and all the questions that I get also, if you I prefer asking me on Instagram, then feel free to do that as well. I'm just doing some lines to to create the all the parts of our our landscape. And here I'm going to use my yellow us well, just going in with my card again here. And I tried to avoid the blue this time May I might have a little blue, and that's okay, but mostly it's CNN and the new composure. I'm just doing lines here going to tip my my card in different directions, and when you hit dry paper, it'll create some beautiful texture. And that's cool, too. So this is a technique that you can have fun with an experiment with its. That's a lot of things to experiment with. This glass, Um, and the I hope you find it inspiring. As you know, the class project is trying to decide on a few techniques and then just create a landscape like this, and I really hope you'll give it a try because it could get give you ourselves. So many challenge Isn't so many Iot persons. Ah ha moments. And that could be That's one of the greatest things I can do is to open people's eyes and just show something new. Because I think I think that's one of the biggest things for a man to yeah, for men to do is to inspire. And I hope to do that. Okay, I'm going in with some some cling wrap here, and I just put down for a pretty big amount off paint. Uh, here in the foreground. And now I'm just using a curled up cling wrap that I found in my kitchen. Cruel. There you go. Just pushing it down pretty, pretty hard. Eso it'll stay there, Stay put. And ah, now you can touch this until it's dry. Even though if you were impatient like me, Okay, I let the sky dry a little too. And now I can go in with my car and pushing pretty hard the on the paper with the itch. Now I can create these shapes that is our background mountains. And if you are scared of this technique and they're totally get that. Then, ah, tried on E on a different paper just to see especially how how dry actually need the page to be. Because if it's too wet, it won't lift up or won't get scraped off like this. So you have to be. Have to wait a while, and I'm just using the kit credit card to create some lines and texture. And you can see all the tones off off pain tlhis in this painting already I love it. Now we can let it dry and come back to it. There you go. It's dry and we can remove our cling wrap. You can see how beautiful texture created I think I might. They shouldn't maybe have left even more pain here. But I do like that. There's some checks. Your let it corresponds somehow with the mountain, so that is really cool. And now I'm just going into kind of emphasises and I'm not cooked. I'm trying not to cover up my texture because otherwise it would be just those. There wouldn't be any point in creating texture if you just covered up, but I do want to have some tax in the foreground, Just like with the other two paintings. I want to try to push the docks, but here I'm using my credit card to to create some lines. I'm just dragging out the color that I just put down, and you can see how that shape. Actually, it's very little shape like now. But really, just the ground with Epsom grasses on is a great technique, and you might have to practice it a little, but it's worth it because it's beautiful. And when it dries a little, we can create some rocks here as well. Them. And I'm trying to use the credit card as much as possible here in this painting just to show the technique and, uh, just have fun with it. I'm just again adding some more docks and just giving the paintings of more flow. Think the middle crime this little boring at the moment? So, uh, we want to to push that there's a lot of color on on the left side of the middle ground, the very, very warm Hugh, and that helps to create that s lay the focal point. Um, so I was lucky that it turned out like that. Otherwise I would have to put more painter in there, but it has a very, very dense value on. Since it's a warm Hugh, the the view will go there instead off the cooler tones in the form of ground in the background. So we're lucky all smart. Either way, you choose has just doing two more grasses here. You don't need to, uh, create grasses old over. It just needs to be a little a little bit just scraping out a little of this pain just to create some profits again, make sure that it's not completely wet. Otherwise, this would be super hard to do and a lot off. The things I'm doing in intuitive painting like this is not actually something that I to keep a lot of it just kind of, you know, disappears when I'm trying something else. But I really have to, nowhere to stop. Um, and I actually did this painting ones before, Um, this one. So this is the second trial on this technique because I always dated like, crazy much, So this is much, much better. So no way, when to stop. If you're in doubt, then stop and come back to it in in a day or two. I'm just trying to spread the paint a little so we can have a bit more off that beautiful yellow tone fanning out from the focal point kind of leading the way into the painting. And I'm starting to be a sure but policed with this. I think we push the darks. We have some beautiful warm tone here in the middle to lead the way, and there's some beautiful texture as well. So I'm happy about this, and I hope you'll give it a try. I will wrap up now, and I was See you in a second. 9. Let's wrap up: Thank you so much for taking this class with me. Uh, this is one of my favorite types of paintings, and I really hope you'll try it out and see what you come up with. Please, if you do shared in the project gallery and of course, a segment Instagram if you share that as well, I am committed transport, art I'll have righted in here somewhere. Um, so that would be super fun. And I had to re share a lot of the things I see on Instagram. So feel free to do that. If you want to see more, I have a lot of classes on my profile. We could go there and follow. And that way you also get no fact when I put my legs class, which is going to be exclusively on creating texture, you can see there was a lot of different techniques in texture creating. This time I want to go in depth with the different techniques, um, conceive the pros and cons and how they work and how they don't work always. So that's gonna be the next plants. And that is often now I just want to say thank you again and I will see you again. But