Painting A Fantasy Forest With Aspen Trees In Watercolor Using Cling Wrap And Masking Tape | Eva Nichols | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Painting A Fantasy Forest With Aspen Trees In Watercolor Using Cling Wrap And Masking Tape

teacher avatar Eva Nichols, Watercolor Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 53m)
    • 1. Introduction

      2:26
    • 2. Materials

      8:17
    • 3. Masking Tree Trunks Composition

      12:35
    • 4. Colors and Mood

      9:34
    • 5. Painting the Background

      11:30
    • 6. Practice Painting Aspen Trees

      10:52
    • 7. Painting Background Details

      32:11
    • 8. Painting The Aspen Trees

      23:19
    • 9. Class Project Description

      1:06
    • 10. Wrap up

      0:47
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

164

Students

9

Projects

About This Class

6d35fc27

In this class I will show you how to make the watercolors flow and work for you to create a magical forest with Aspen trees using cling wrap and masking tape.

In the process you will learn some basic watercolor techniques such as wet-into-wet, dry brushing, lost and found edges and positive and negative painting. I’ll also share some fun and untraditional ways to create patterns and textures in watercolor to create a finished watercolor painting of a forest with Aspen trees.

Whether you are a beginner, or an experienced watercolorist this class is sure to teach you new and useful watercolor techniques to enhance and bring new excitement to your watercolors!

For your class project you will paint along using the watercolor techniques demonstrated to create a Fantasy Forest from your own imagination. 

Please make sure to post your progress along the way to the project gallery.

This class is great for both beginners as well as more experienced watercolor enthusiasts. No previous painting or drawing skills necessary.  Just bring an open mind and a positive attitude!

Meet Your Teacher

Teacher Profile Image

Eva Nichols

Watercolor Artist

Teacher


Hi, I am Eva Nichols, a Danish born watercolorist residing in Truckee, California where I love being part of the creative community. I show my work at various galleries in California and Nevada, and teach watercolor classes both locally as well as nationally and internationally. 

I love watercolors because the are such a lively, interactive medium. My painting inspiration comes from nature and traveling. Sharing what I have learned about watercolor over the years is my passion.

I like to keep my classes fun and inspiring, letting the watercolors flow and make them paint for me taking advantage of "happy accidents"!

You can watch some of my demos on my YouTube Channel: Eva Nichols Art

For tracings & handouts or to sign up for my Newsletter please go t... See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction: Hi, I'm even Nichols. Welcome to my studio. I'm a full time watercolor artist. I'm originally from Denmark, but I've lived in California for the past 30 years, and now I live up in Truckee, California Bilek tackle where teach watercolors and show my artwork. I show my work in a number of calories, and I traveled both nationally and internationally to teach watercolor workshops and classes. You can follow me on social media, and you can go to my website beauty on location dot com, where I have a lot of watercolor resource is and handouts that are free for you to take. I just love to teach, and I look forward to sharing the visual language of watercolor with you in this class. When I picked, I tried to capture the magic in my subjects. My inspiration is nature, but my passion is color. I use color to express a mood and share the beauty off my subject. So, in this class, I'm going to show you how I use masking tape and cling wrap with plastic wrap. Whatever you call it to create a fantasy forest with aspen trees. Here you can see a couple of samples of paintings. We have used this technique. Sometimes I just cover part of the painting with clean rep. As you can see in these samples, I love to raid my kitchen and my office to find materials that can create unique textures and effects in my watercolors. So what I'm teaching you in this class today is a fun and easy project that's well suited for both beginners and more advanced watercolor students. You learn some basic watercolor techniques, such as wet into wet, dry brushing, lost and found edgers passed to the negative painting techniques. I will also explain about color theory and composition and design while we paint, so I hope you'll get your supplies ready. I'm gonna go over the materials and a little bit and you can paint along. And I really, really look forward to see what you have created in this class. So make sure you post it afterwards to the project Kalemie. So I talked more about the project leader on, so let's get started 2. Materials: right. So let me show you the materials were going to use for these projects. We need to watercolor paper, and it's nice if you have, um, a couple of pieces of scrap watercolor paper for testing up painting the aspen trees. I'm gonna paint on £300 corps pressed ashes. What kind of paper? And you can pay on whatever paper you you prefer Islamicists watercolor paper, and it could be £140. It could be £300. I prefer I just because it's 100% cotton rag. But, you know, you can just paint on whatever paper you are used to painting on or that you have available . Um, I like to have some sort of formats to a paint on. And, um, I have no piece of Terry class that I fold up a couple of times and then I have some paper town put on top. That's what I call my water control station. Uh, obviously, we need water, and I always have two containers of water. I like to keep my water clean. Um, so I used one for renting out my brush and the other I try to keep clean for mixing up my colors. Um, and then the cause I have chosen for today and that's again completely up to you what color she wants. Um, but I'm gonna use red, blue and a yellow I'm gonna use quinacrine on bread, Ultra marine, blue, French ultramarine blue depending on what brand you're using. And then I'm gonna use a yellow that's called either transparent jello or nickel Asia yellow, depending on the brand, it's p. Why 1/50 some of your into the pigment numbers. And then I'm gonna use this and extra blew apart from the ultra marine blue, French ultramarine blue I'm gonna use. And with blue, it's very close to Prussian blue. Or you could also use a fail blue if if you have that and of course, you can choose whatever color combinations appeal to you. So basically, what I'm using is primary colors red blue too loose, and it'll and that's gonna give me all sorts of colors. And I like to keep it simple. So I don't mind to have, like, 10 different colors in one painting that creates a lot of money. Then, of course, we need watercolor brushes and again. You just use what you have, but I'm gonna use 1.5 inch wash process toe wet my paper. We're gonna do wedding to wets to start out. So we're gonna wet the whole piece of paper. So it's nice to have a big a bigger brush that hold a lot of water. You can also use a hacker brush or you can use your hawk, hairbrush, whatever you have up. And then I'm gonna use a variety of brushes and you don't need, You know, you really only needed to one brush if that's all you have. But I have a data brush that I like to use. It's 1/2 inch data and it comes in different brands. It has its a flat brush that has a very steep angle. And thats happens to be one of my favorite brushes. So and then I have a couple of different rounds. Uh, I have a number 14. I have a number eight. This is a number 10 and this is the number four. I might not use them all. And the most important part is that if you have a round brush, is that a country good chip has a good point on it. That's very helpful. Um, and then can see. I've got two of these. Don't that on, then? I like to have 1/2 inch flat, cheap brush that has kind of stiff here is not, like stiff like heart cares, so it would damage the paper. But, you know, ah, a little bit shorter and a little stiffer has to snap to it. And I just use that to lift out a little bit of color without damaging paper, such not a scrub brush. But it's a process that limits differ, and it'll it'll lift our a little bit of color as needed. And then, um, I might use a squid brush or rigger brush or line of brush. Whatever you call it has long. Here's and it's skinny. So it goes. It does great little branches, stuff that So those my brushes on. And we talked about water. Oh yeah, and then I like to use ah, spray bottle to wear went my paints and I can offer spray, uh, if I need the colors to move a little bit more, so that's pretty handy. And I might use a little bit of white paint. You can use white water color paint if you have it. You can use, um, this year that what I have here is the AK recover liquid watercolor paper. They call it from creating Mark. And it's designed to cover artist Bright White. So it's, you know, it's tended to be the same white as my water come up here. So I happen to like that. But whatever you have people, yeah, if you have to go wash, that also works if we need it. And then you might want to use a pencil to sketch in the three trumps that you want to win . Yeah, bring out in the background. That's up to you. Um, I might use a pencil and might not. I try not to, but we'll see how it goes. And if I use a pencil and I need to erase, I always make sure I only Yushin kneaded eraser. So don't dance my watercolor paper. And then we are going to need some plastic wrap Should already have a piece here, and, uh, I just raid my kitchen. I do that on a regular basis and, uh, grabbed the plastic wrap walk, cling, wrap or whatever you call, um, and get myself a few pieces of that have that a handy and then we need masking tape. I like to use this blue masking tape that I could get. The hardware store comes in different with, and so if you have some lying around great or even also used, the oddest tape comes and this is an off white. It also comes in white, um, and to cut it with, it's good to use an Exacto knife if you have one of those. And when you cut the masking tape, make sure you caught it on a surface that can be damaged. Or if you have it, I use one of these self healing mats. And that's actually also what what I have here. I just flipped it around. So I get this great Charlotte color up for filming this show that there's no distractions of, And if you don't have that and you don't have a razor blade and you don't have an Exacto knife, you can also just tear off your tree shapes like that. You know, you could just hear tear it and then put them together. I'm gonna show you that in the demo that's coming next, where we're gonna create our tree Trump's before we start painting. Finally, you need heavy book of some sort I booked with work. This is a photo album, and that's gonna be to press down the plastic wrap on 12 painting while it dries. 3. Masking Tree Trunks Composition: So now that we're ready to get started on our painting, let's get our tree trunks out first. And, um, there's different ways off creating these three Trump's. So I'm just gonna take the wider tape I have here, and I'm gonna put it down on my self healing cutting mat, and I'm gonna grab my Exacto knife and then I'm just gonna cut out some tree Trump's So remember tree trucks. They're fatter at the bottom and skin year as they grow up through the top. Show this fat one. I can probably get about three out of that. So let's see. They cut. It's a good tree. Trump's short like to take them off, so I can kind of see what I got. This one there's, too. You ripped it a little bit at the bottom. That doesn't matter. And there is three. This one here needs to be skinny up here so that just I cooked that D'Amico and so that what's important ISS that they taper in a little bit. And actually, these are very straight and pass pennant aspirin trucks or if you're doing birches instead , that is the same idea. Um, so he I can show you using the 3/4 inch. And actually, I do like to try and wiggle my except a knife a little bit sore. Don't gets, like, perfect, perfectly straight trucks because, you know, it's nature. Nature is perfect in its imperfection. I like to say there, see how that went. And then sometimes I like to say these little skinny ones, who knows you could, you know, you can also add on you need to fix. You're three trucks. That's a nice one. I like that. The only thing I don't like this see how skinny there. And then it goes out again. So I could possibly use a little piece of this and fix that so I can make it a little fatter right here. We've got too skinny there. That's better. So spend a little time cutting out your tree trucks. I'm gonna go with my eight by 10 paper, so, you know, you just want to make sure that your tree trunks are taller than your people. Plus, I'm gonna have them just go out of the painting. This is an abstracted landscape. So, um, you can do whatever you like, but I'm gonna show you One side decided on my piece of paper. We can talk about competition and to sign what I do. That if you don't have an Exacto knife, you can tear your masking tape that works just fine, too, and actually will give you. And I'd like to just kind of attach it at the bottom. So otherwise, sometimes it sticks to itself. I know from experience, and so you could just kind of tear it and then actually gives you a very nice on even edge there. And then I'll save this other piece because who knows that my coming really handy. And then here tear the other side so you can see it takes a little bit longer. But you could get some really nice tree shapes doing this. And you can use the pieces you're tearing off to fix the shapes that maybe didn't turn up so well. So you can see Here's my tor piece. So she how nice and uneven that iss And again, if there's some areas, we got a little too skinny here. Just take one of the other pieces in. I felt it up, so that's another way of doing it all right. So I took a little time to cut out Oh, my little tree trucks. And I'm not gonna use them all, But I like to have choices, and I like to just lay them out here. So I know what would I have to choose from? And here's my watercolor paper, and I want to think about not lining up my trees like little soldiers with same distance between the same thickness of trucks. You wanna have variation? So let's go in and start that. I like this one here, So, um and I like to give it a little bit of an angle. So not too close to the Etch their leading into the painting A little bit, I think would be a really good idea. And so I'm just gonna put that down for now. And, um, Then let's find another one. What about this one here Could be nice. And then, of course, I don't want that to be like the same distance from the other edge. That's not good. It's good to have the new space behind. The trucks are called negative space, so we want to have a variation both in our positive spaces which saw three Trump's right now and on negative spaces, which is the background. So what if I am gonna need that and have a little bit smaller distance here? And it's leaning a little bit the other way, but not the same angle. And I don't want it to look so that it's falling over which you could. You could do whatever you like. You want to give? It does to tiny angle, but not as much as the other one. And I like that and it seems bigger bigotry. It's fatter than this one. She'll put that down, and now I think I need a skinny tree. Maybe this one here and I put that here like that. Lips maybe like that, like this, like that. How does that look? That looks pretty good. And now I think I need another scary tree. So I'm not really happy with any of the shapes I have here, so maybe if I make this one a little bit skinnier, but not a skinniest that one fits. You know that look, and I'm gonna put that over here like that and see that's going up a little tiny bit there and see, I have a little thing there that I don't like. So then I'm just gonna grab one of my little fix it pieces and see if we can get that taken . Care off one of those there. All right, so now have three and one that can work in my composition. It's an even number of trees, but I have them distributed. Show that there's uneven number on this side and uneven number on this side. And this one is the bigger, fatter one. So it kind of balances out these three. I like that. And I think I'll go for that. All I need to do now is pressed down really well on my masking tape to make sure that it will protect the white of my paper, which is the whole reason I put it there. And if you want to, you could use some of those little strips you have you and build on like you have a little bumping the there. Maybe you don't be a perfect opportunity to give it a little branch. You can put a little bit more detail on this tree, which is bigger and presumably closer to me and give that one a little bit more detail, and I have another little piece up here that could also be a good branch. So maybe put that one up and again watch up for ur angles that they're not, like, identical like there. So I want a little bit of a bigger angle here. There. Not gonna worry about that little piece. There's gonna cover it up with another little piece of masking tape. But there a piece there, All right, and again, that's 12 Not so crazy about that. So I want to go with one more. Here's a nice little piece that I can use, and I'll put that way up here and see this one. I'll give it a narrow angle like that, and that's how trees often are down and towards the ground. Most trees, the branches tend to go more like straight or sometimes they even go down. And then as you go higher up the truck, the branches tend to have a steeper and steeper ankle reaching up up for the sky. So start observing trees and you'll notice that that is how dis most of the time it depends a little bit on the trees. An Aspen treaties typically don't have branches on the first, you know, part off the tree. I think most of the branches are actually gone where as high as the elk or the deer or whoever is nibbling on the trees can reach. And that's also where they have more sky. But we'll talk about that when we paint the aspen trees. But anyway, I am kind of feeling okay with this composition. So all I'm gonna do now is bend my in pieces just on the back off my paper. And I like to have the blue tape because they I can really see the pattern and I can evaluate it and see if I find that it's pleasing. And if it's balanced, If you have all the trees over on one side, your paintings gonna look lopsided. Now you can do things you know, with the background to kind of even it out again. But in general, you know, make it easy on yourself and have a pleasing composition before we get started with painting. I just wanted to show you that I did another a sample for you here. I have it in the landscape format. This one I did in a portrait format and I even see here. I used seven trees, so three on this side and four on this side. But see how varied the sizes vary all the spaces in between for good composition and designed. That way, we don't have a whole lot of stuff to fix, which it can be fixed with a background. But why create problems? They usually appear all on their own. 4. Colors and Mood: So before we get started with the actual painting, it's always a good idea to spend just a few minutes doing some little quality color sampling. And that's actually one of my favorite parts because it's a sit in my introduction. I love color, Um, and the colors that I had settled on for this particular demo and this painting is primary colors red, yellow and I have to lose. So I like to use transparent general or Nickel Asia yellow. They have those two names for basically the same color. The pigment is P. Why 1 50 if you, um, wanna go by that and then the Queen Apatow Red, which is for me on my palettes, my true red. A lot of people they find that it's a little on the pink side, but I like it. I find it does wonderful, both making pinks and making oranges. And the pigment number for that one is PR to nine, and then I have good ole, ultra Marine blue or French Ultra Marine blue, Um, doesn't really matter. It depends a little bit on the brand what they call them, and that's the pigment P B 29 and then finally I like to use and blue Um, the one I have years from Winter Newton There are other Bryant should also have and would blue. But if you can't find and what blue If you don't have it I mean you is what do you have that stacks like? That's number one. Don't let you know it Stop you if you don't have the same call assists I have Maybe you have other color preferences Uh, Edward Lewis said pigment PB 27 And it said more often took what you blew very rich and dark, but not his darkest indigo. And a color that's very, very similar is a Prussian blue on, and you could also use fail blue. There's also a little bit in the same. Yeah, the same shade. I have already made my puddles on my palettes. If you don't have a palette, use a portion plate or, you know, paper plate. Whatever you have, Um, and uh, those are the four colors that I have decided to use, but I wanted to show you that just with those four colors, because it's they represent the primary colors red, blue and yellow. I can get an infinite variety of color. So let's start with some yellow down here and let's take some yellow up here and we can take a little bit of yellow in the middle there, and then let's mix it. So first I put a little bit off French ultra Marine blue into the yellow. And then, uh, in this one here, I put the work into the yellow. And then in the bottom one, I'm gonna put a little bit of the red into the yellow so you can already see here that you get a lot of long color there that ran in, but it doesn't matter, and then we'll spray a little bit. I do this a lot because again, I'm just fascinated by color. And I like toe experiment with different color variations. So you can see here is what I get, um, with those three colors. And actually what I'm thinking is I should put a little bit of the red in here. Is you kind of get also the spectrum off. What happens when these colors kind of mix and mingle with each other? So, you know, you get some right oranges, you get bright green here, get a little bit more subdued Green here with a French ultra marine blue. And here, if all three colors are all four colors mixed together, you get all sorts of neutrals and that's basically the colors we're gonna end up with in the painting. So if you like that, great, you on the right track. And if you want, it may be and more monochromatic painting. Then you can leave out one off the primary colors. So say we wanted something a little bit more Oh, Moody. Now I live, you know, up in the high shares in California So we have very bright colors We have wonderful sunny skies, very blue skies We have the white of the snow in the winter and we have the greens off the evergreens and a turquoise blue off the Lake Tahoe and the Truckee River and stuff like that. So we have very bright college. But say I came and you know, I come from Denmark. So if I was gonna paint more of a daily scene, I would probably you shut off, Mike French automobile blue. I would put some radio and then been more blue and then they put just a hint off yellow in two. Great down, a little bit more Here. This would be much more like Denmark colors to me. Winter colors, I would say Now Denmark in the summer is super green is greener than up here because, you know, we have a dry climate. Denmark has a very wet climate, like England Great Britain Island. So that would be like a very moody and that would be very, very pretty. Also, um, you can see here the difference and it says the mood, the color sets the mood. If I wanted to say Denmark in the springtime, say, or like this right now, the California hills, they are green and lush and full of bile flowers. So let's paint what that would look like. So then I would I like, you know, I went my paper so that college will run together, and then I'm gonna take some yellow here, and then I am going to take some of the end with blue and you can see it get that really rich screens, spring greens. And then right now they're having a super bloom. We are having a super bloom. The wild poppies there orange. And so you will have whole mountainsides and hillsides that are completely orange, like here and then. So it starts out with the orange poppies. And then as spring moves on a little bit further, we get fantastic. Um, hopefully blue Liukin's. So that would be my French ultra Marine blue with some off the queen acted on red and I would have my purples there, and that would be springtime in California. And so here I used the exact same colors, but I let them mix a little bit differently. Then I did on this one here. So these are the same four colors, but all depending on how you let the mix and mingle. They create different moods and different color combinations. So that's what I find so much fun. So when? If you also think this is fun, you know, experiment. And one thing you should remember to do on that IHS. Once it's dry, make sure you write either on front on the back what colors that you use, and then you can save them and then, you know, have them in a binder, and then you can go through when you're thinking about a painting you want to paint, and you was debating. You know you have something in mind, maybe off a certain color combination or mood you want to create, and then you can take these washes out and take a look at them and see what colors you used to create the various combinations. And that's a wonderful tool. And I can also tell you from experience that if you don't write what colors you used, it's completely useless because you think you can remember. Write it when you're doing it and trust me, give yourself a week or two, and you will absolutely have no clue what you used. So that's my little tip for you. And now I think, Let's get painting. 5. Painting the Background: So after you make sure that compress down your masking tape Really good. So it sticks to the paper. It's time to wet the whole paper. Now, if you're painting on 100 and £40 paper, you might want to wet the back side first, then prevented from bubbling. But if you will forget about that, you forget that. And, um, you went on the front and it starts walking on you. All you need to do is lift your paper up, take your spray ball and spray water on the back, and then it will relax and lay down. So that's why I never stretched paper. And, um, I hate on £140 to just for this demo, I think in general, paint mainly on the £300. Just like it, because it's so thick and it won't buckle, and it can hold a lot of water and pigment so won't dry out on me right away. So with my big 1.5 inch watch brush, I am just generously applying water and you can see even the £300 gonna lift out just a little bit, and I'm gonna have to give it a little time to sink into the paper. And then I waited again because I want my paper. Really, really, Weps, because I want the colors to move and flow and the more water I have on the more they move and flow and will blend and create all those lovely colors that I'm after so we can see my papers also buckling just a little bit. So I take my Mr Bottle and just spray my paper a little bit on the back and they relax it. And after one more coat of water now that it has see how relaxed now it's just lying down. So that is a very, very easy way to get rid off bubbling. So no need to stretch paper, and I'll probably just wipe my people a little bit. And I'm just painting on top of my cutting mat here because I think this great color is a good color to film on. Um, and now it's time to get color on, and I'm going to start out with some yellow and now I have to think about where I want my focal area. Well, your focal area should be heres the middle. You don't want it in the middle. It should be off the middle and little bit. So either up here, up here, down here or down here is a good place. For the most important part, we have the most contrast, etcetera. So I'm gonna think about that. And I'm gonna put some off the yellow in right here, there, and then I'm gonna tell my brush, and then I'm gonna put some of the red on good love enough there. And I'm going to kind of checked my yellow with the red because I'd like these two colors to mix and mingle into, like, oranges and yellow Shin Bet's. And then there's to take some off our French ultra Marine blue with that up here and then I'm not gonna reach out my brush. Gonna put a little bit of the bomb and put some and work down here. And now I'm just gonna put a little bit of the red on, get some of the yellow on. And can you see how I'm already getting a very neutral color right there? Because now I have a little bit of all colors on. And before I go any food, or I'm gonna put a little bit of the French all to Marine one here and someone yellow. And then I'm gonna take my Mr Bottle, make sure that it stays whips, and I'm holding it up. Can you see I'm having gravity do me a little favor. I use gravity a lot in my painting techniques, and now the colors will flow, mix and mingle. They want to put a little bit more color on the bottom here and some yellow, and she'll get some notion I screens. Yeah, And again, gonna let it flow, mix and mingle. And I want to have don't have a too pale because, you know, it's watercolor and water. Connor typically dries a lot lighter. Especially when you do this much water on it went into wet. Gonna dry a lot lighter than it looks right when you put it on and just keeping an eye. Have some of that yellow in here. Come straight right in there because I want that to stay bright on this. You'll also see that the masking tape is going to kind of create a little water so you might wanna just help it along you don't want to have one call on one side of a truck and a completely different color on the other side should need to drag that over a little bit. Sure, there, holding it up. When I do that there, it's Robert E. I'm beginning to like what I see here. I think I'll put just a little bit more color, just any color down here like it didn't happen down here. And then I'm gonna take some tissue, just wipe up that extra color ran out, and I'm also going to just kind of show up, hold it so that it runs down towards the corner and I can show up all that excess because that's truly and I don't mean you want everything to go neutral. So let's shook that up. There we have it and let's take a look at it. Yeah, I like it. I have it the brightest in there, really like that. I really like that. And I might go in more French, ultra marine blue And what? And I'm just one any kind of bright colors out on the edges, you know, I want the you know, the less bright I have out here, the less it competes with my focal area. So that's what I'm looking for right now. And now I think I should just stop having this much fun. And, um, just give it just a minute to mix and mingle a little bit more and I wiped down my edges again. Good. And now it's time. Once this wet, it's time to get that masking that plastic grab on. You don't want to have it start drying on new before you put this on, because you won't get the patterns that will before. So I'm taking one piece and I'm unfolding it. Oh, so you can see. And I see one thing that I really, really like. You notice how I did that? Three the end being there. And that looks kind of good. And so maybe I should do some more that no doubt my brushwood and weapon French orginally do and then do just a couple of strikes like that cause that would maybe indication trees or something like that later on. And now it's time. I don't want to get to me with it. Okay, so I'm taking one piece and I'm gently putting it down and then I'm to seeing what kind of patterns it's creating and you can playing with it a little bit. And when you see some patterns, you like this. Gently put it, press it down. Yeah, and I'm gonna take another piece you're and first down on the rest off Mike aging. And I'm pulling it a little bit because I like to get, you know, some shapes that might replicate some tree trucks that are in the back. That's what I'm thinking there and then down here. Maybe I'll crumple it up a little bit for no, who knows? Drops of bushes or whatever. I don't know. I can't tell until it's completely dry from. I'm kind of happy with what I see here, and it's time to put a book on it and let it dry completely. That's gonna take a little while we go. 11 other thing right down over here. Just don't get my book dirty. Here we go and gonna have to be patient and wait for you to drive with the book on. There we have it 6. Practice Painting Aspen Trees: one hour painting is drying. I thought it would be a really good idea to just practise the technique off painting the Aspen trucks. So I just took some little pieces of scrap watercolor paper and I just drew in loosely some trucks, and I wanted to show you how we do this. So I have the puddles that we used for the beginning off the painting. And actually, I think here I have some of the blue and the red, and I think I'll take a little bit more blue over here and I make myself a nice little Aspen shadow caller. How about that? It could be any kind of a bluish grayish color. Whatever you like, it doesn't matter your choice. And we wanted very watery. So lots of water. And you know, I don't want a true, colorful, just kind of breach and see, this is kind of a purple color. Purple is created, as you can see by red and blue, and if I put just a dab off the complementary collar yellow into it, it'll grade down. Have to be careful. Don't put too much in there. That's a nice collar for Shadow on Aspen tree. All right, so early That there. And then I'll just grab another brush. And this just to wanted to time here, So here. Can see. Um I have my aspen trunk, and I'm just gonna put a little bit of water clean water inside like this. I don't go all the way out to the edges. A little bit of space. Let me hold it up. Maybe you can see it. You see what? Shiny. Yeah. And then I just grabbed this brush and dip the tip in little bit of that shadow color. And I have to decide where my life is coming from. Let's say it's coming from the left here, So that means I put a little bit off that shadow color down along the right side of the trunk. And here we are, And now go all the way out to the edge. Go and you can cheat the court to put the water in. I get a soft or lost EJ. The water is just fading out into the water I put down, and it'll be a nice hot edge here where it's hitting the dry off the background, and I'm just gonna dab in a little bit more here and there and that it's really all you need to do. I'm gonna winds up my brush and damn it. And then I'm scores. Flip it around here, and then I can go in and just with a damp rushes to wit with a damp brush, I can just make sure that I don't get kind of like a heart line. I don't want a stripey three tree there we have it and I have a little bit of shadow on the trunk, and it already doesn't look so flat. Let that dry. So Step two is we can use the colors that we already have used. And I have a little bit of puddle spread a left here. So here was a green from the yellow and the blue. He has red, red and green, a complementary colors. So if mixed those two together see here and now I don't want too much more of us wanted real ducks, and I'll get kind of her basically a burnt sienna collar, you see. But should I call her reddish brown and then it could go over with that in the French Alter Marine blue color here. And I can also go in and get a little bit. I had a little bit left off my and work. So basically, this is a long winded way of saying if you mix all three primary colors red, blue and yellow together, you're going to get unusual. Or, you know, if you have a lot of pigment see here, I don't have very much water. Was I wanted to dry brushing. That means you want a lot of pigment and very little water on your brush. So here basically have, like, a really dark colors kind of Greece blackish. That's exactly what I'm after. And so I noted up this brush, and I don't have very much water on it. If you can feel you have too much water than dap it off on your paper towel. And now I'm gonna hold it like this on the side. I'm gonna move this out of the way. You're gonna hold it like this on the side and with a very light touch him. I'm not holding way down here. I'm holding up here kind of midway so I can kind of get the weight off the brush fall down and hit and then with the paper and just drag it over. I'm not pressing down. I'm just dragging it over and you can see how it deposits on even little strokes. What, skip some places because it's little bumps on the paper. So basically the pigments just hitting those bumps and then it's skipping the valleys. And so I'm just moving my brush around. It could drive it a little bit too. Like this, and pretty sure, Wana I have markings that says Aspen trees. How easy was that? And then I can no doubt my brush a little bit more. And now what a little bit more pigment on. And I can use this big old brush if I roll the tip in that pigment. So we keep the very nice pointy brush, and then I Now I hold much cloves it with Here's our and I hold it almost upright. And then, um, I pick a couple of places where I have no dot marking like there. Usually the trees will have dark markings where a little side bunch comes out, so I'll pick up from there, and then, with a very light touch, I can drag out a fine line like branch. See that? That's a super super easy. And I don't have quite enough water on my brush and needed to put a little bit more water on Soto. Flow off my brush better, and that stood again here. And then I can do like this and like this, and here's another one, and it's just super easy. And of course, this is why you could use that rigger brush that I have, Um, and you probably have one to have civil of them, but you can see it's totally doable with a bigger, fatter brush. If you can get it toe. Have a nice tip like that. And the nice thing about it is because it's a lot of hair is here. It won't run out of pigment easily, so I don't have to reload all the time. I can go and do a whole bunch of branches with a brush like this, but you brush does have to come to a fine tip. And don't press down if you're pressing down too much. You know, the more you press down the fat on the line guests that show you so if I do it like this light touch up on the edge. Fine line. If I press down, See, you get a fat line and you can see here because I'm running out of pigment, actually, also get some dry brushing. So with this brush, I could almost create our pigment now. But I could almost create and ask for Trump Just dragging it up like that at least the beginning, right? So anyway, that's all there is to it. And of course, sometimes I like to will not do it. So where neutral Sometimes I loved give my aspen trees a little up sas again. As I said in my intro, I am not too concerned about reality. Reality is something I capture with my camera. When I'm painting, I'm after something else I'm after. I don't know the feelings, emotions, what I feel about a subject, stuff like that. Um, so now I just stepped around in some of those colors and you can see here I could go in and give it a little color here and there. Just if I felt like it, rent it out and I could just give it a little glow. A couple of places. Yeah, just like this. I don't know it up here, over. Reach it out again and just kind of have a little fun doing that. So that's a fun way of livening up your aspen trees. Yeah, let's put a little bit of ready. And I didn't have any scientist. Got some. Look at that. Before you know it, it's gonna be a very colorful Lastman and extract that across a little bit up here. So I have entirely too much fun with this kind of stuff and, you know, it's anything goes, Really. It's your painting. You could do whatever you like. And, you know, sometimes we've come across something that were like, We love it. And other times Maybe not so much. Well, then we learned that no big deal. 7. Painting Background Details: All right. Big moment has arrived. My painting is drive so I can take off the plastic wrap and see what happens. I wasn't looking. So here we are pretty happy with that. See, the lovely mixtures we have of colors get to neutrals. We got some greens, We got some oranges. We got some purples, some neutrals here. So yeah, that in total be made into a nice foreseen. And you can see how I got some patterns here in the background. And once we paid the aspen trees, and that's going to start reading as trees that are in the distance. And, um, it's completely dry, so I could paint on it. Now, if you live in a moist climate damp climate, you might want to just leave it overnight because it does take some time to dry because we have the plastic wrap on it, and then we have the books on it. So, you know, texutil while for the water to evaporate. So to just make it easier for you to see what I'm doing, I'm going to start with you know, I could use a pencil. I don't usually do that. Um, and I think I can get away with showing you with opt using a passel. So can you see this shape here? I could make that untrue a big tree, and that would be the truck. And so then my two choices are I could make the trunk docker indeed, the background. That would be positive painting. Or I could leave the trunk, the weight iss and make the background doctor here. I'm gonna choose to make my truck doctor, and I'm gonna use a little bit off my red, which I have here, and I'm gonna go out in this area, put a little bit off French ultra Marine blue in it, and it's already kind of has a green color that see how that would work. So I'm gonna go in. I think I want to put a little bit of yellow and to get it more Bram car there, and I'm doing it fairly transparently so I can still see those pants underneath. In that way, I get those color transitions that is underneath what I'm painting on here. And it blew up here. You want to get some contrast and then here gonna go to about here. They put a little bit more. The yellow one read. You know that mixed. You have it More water on my brush. Before this tries, I want to just continue to spot go like this. And you want to say that it kind of divides. Maybe here, this one when should continues like that and then it splits off like this and you can do whatever you like. It's your treat, your forest. You decide there's no right and wrong with this stuff. Show a bit more darkness here and let it disappear into here. Go. And then I don't want it to be, like, so hot down here. So with a bit of a damp brush, I'm just gonna let it kind of fade out into they forced floor. And when I add it going to just clean up your little bit Now my life is over here. So it be good if I could have this side of my treaty. Dr. So Just used and mixture off the red, the French ultra marine blue and a tiny bit of the yellow. And you could see him just kind of running in a little bit of that paint. And I'm cleaning out my brush. And while still damn, I just kind of go in and lose that edge going on there and let's see if we can get this site this part a little bit darker. Ocean that. Okay? She never created a trunk that's coming. You know, it's behind the aspirin and, uh, like that. Now, here I see two other trucks, this one and this one, and I think I want to try and see if I can lighten them a little bit first. So that's where my little flat half inch brush my cheapo brush comes in. I'm gonna with it, and then I'm gonna just take most of the moisture out, and then I'm gonna go in here with clean water inside this shape and see if I can live out a little bit off the pigment. We need Kleenex. Dab it. Can you see you told we're getting lighter and now we need to reach out my brush again and continue. And it's not like it's gonna come back to complete White by any chance. But that's not necessary. I could just get a little bit lighter, first of all, and then I can go in and do some negative painting and doc in the background around it and make it stand out more. So there sat down here. Yeah, can you see? Is beginning to appear way trees the whole way from top to bottom. They obscured by the trees foolish. And who knows what I would say? It's a good thing to leave something to the viewer's imagination. Just give them enough clues that they kind of know that they're looking into a forest, and then it's gonna be amazing what they're gonna be seeing because they're going to start seeing trees and all sorts of things. There's another shape back here that could be made into a tree, and I think I wanna have another doc one. So I think, Let's just really water inside, so know where iss And then it's gonna go here and then it's gonna disappear up here, put it in water so you can also see what ISS hopefully and then let's go in, take a little bit of the French ultra Marine blue, put some ready in better the yellowing those three primary colors mix those together and sure enough, you're gonna get a neutral, so we'll put the collar on with shadow side of the tree Since the lights coming from here, that would be on the left side of this tree that for now and again, I wanna make sure that there's not a hard line here at the bottom. You don't wanna have a straight line where the trees end. Most of them I have where they go out of the pictures, you don't have to worry about it. But he's here that I'm creating. I have toe be aware. So then we have this one here. So here, you know, those two lifted out a little bit on those two. So now I have to be clever. Have to get something dark behind them. And it would also be nice to have something a little bit darker behind the aspen tree here because that's gonna be light. So I am going to create um I'm gonna create eight. A green, a darker green, not too bright. So have the French ultra Marine blue here. I think I told you earlier that French Otto Marine do. They don't create like, real dark, bright greens. They can quit dark greens, but not really bright wonder bright one. I need some of the year and the end whip on the year and yellow You can see here. See how that so much brighter color, right? A green there, Just that one. All right, now, I don't really wanted that right? If my green is too right, What I can always do is I can put a little bit of red in red and green, a complementary colors, and they utilize each other, can see that here. It's kind of a I don't know if you put a little bit of that in here, and I think I want to create a little bit of a dark green here. So I took some more off my French ultra Marine blue and yeah, I just want to have a couple of grains to choose from. Here's another yellow. So now we got bunch of greens, got green, they're going green there, got a green, bluish green there, and I have, like, a brown color. All right, so what I am thinking is I want to create, and I think I want to do it first with putting on a little bit of water. So let's just put now that these two trucks try. Let's just very carefully Putin water in between the true trucks because the pigments gonna run where the water is. And that way I can guide it away from the trucks because I don't want it to run into those two trunks. And sure, there's also be like here you achieve in a little bit and there's a natural branch there, so I want to take advantage of that. And let's see, let's to start, see what happens. So I'm just gonna run in, show these different greens on either side here and here and on the other side of this one as well. And down here, grossness there and there. And then here I sit. It was going to be branch this show you, then we have it. And yeah, okay, no established. See, There's one trunk. There's another truck. And here's the area in between. This one Wait there and I want to go up like that. I don't like that. And now I don't want Doc against dark. I want light against dark dog against life so good down here a little bit like that, and I'm gonna rinse out my brush and I'm going to with a damp brush. Just fade the color out Kamina damp brush and faded into here. And it would be good if I had a little bit of yellow. So do you go here? And I put a little bit of that. You're going there And then so here. What? Just losing the edge. I don't want to see exactly what's happening. Pure good. The edge down here and down here Got into the truck here a little bit there and then up here. I'm also gonna let the color fade out. Yes, we get up just a little called differences. All we need to establish those trucks. Can you see I created to later trucks there. Live it. Something going on there that should maybe check care. And we peaked. That yellow a little bit here with here and again just whenever I don't know Saturn. What's going on? I lose the edge, meeting that I take clean water and I just let the color fade out into what was there originally? So here and here? Yes. Okay. I can live with that for now. So we've established that I have a little fixed to do here don't like this line. What could make it a skinnier again? It's my painting, so I could do whatever I please. It's my world and your paintings or your world. So you can also do whatever you like. And let's see here, one just also clean up here and a little bit of that in there. That way it's all tied together. Damn girl. And they would go. Okay, take a look. Yeah, so that area is pretty darn good. So we need to find a couple of Trump's over here. And I think it be nice if I had some little branches and then goes to you Go behind here disappears. She probably used my little like a brush if I wanted to. Some of those little Twiki branches just like to have a little interest here that's weaving in and out. Awesome. Make that a little and again. I can do more of that stuff later on, even when I see that I needed and then I'll just go down here and it comes from here. This tree was coming down here, disappeared behind that one and I could see that it has. Prancer goes this way. Do you still get it over to that action on this side, too? This is my focal areas. So that's where I want to have the most contrast and detail and my brightest colors. So brightest colors. Most Contra stock, doctor stocks against lightest lights and the brightest color so I can get that happening here. I'm in business. That's again. Competition into sign. All right. Just fixing that shape. And I want to make it a day big fat down here. It it's very important with the trees that you make sure that the tops are not fatter than the bottoms and the little side branches. You know, they have to be skinnier than branch there, sitting on coming up from. So that's something to keep in mind. And you wanna repeat differently to that Here, a little branch going out and here and see you have some light shapes there. So then I'm gonna pretend that they are in front off this particular tree up there. So I know where you're coming from. I don't have to explain everything. So, you know, in the painting again, you want to leave something to the viewer's imagination. So I think for now. Oh, another thing, I think could be really, really nice. It is here where they're separating these two branches. What if I put a little bit of a darkness here that this once behind where they're splitting , And then I used the edge meaning, take a damp brush. And I just kind of, um, shopping out color. See how that brought out this branch? And it looks like this branch is a little bit behind. It's always good to have a little bit of that going on. And then here I have a shape show might emphasize sat and maybe a little one here and just you know, that there's some you know? Oh, indentations in the in a truck down here with the kid and close to the roots. And there was a little light shape from the pattern that had been created. Sean Hannity advantage of that. Yeah. Can you see how that gives it more dimension when we do that? Right. And, uh, I don't wanna get complicated with this. Of course it's not necessary. Gonna let this dry and then I'm gonna take a look at it and see if I'm satisfied with what I have created in the background. And if I have any areas of needs fiction and then once I'm satisfied, then we're gonna take the masking tape off and pain in the Aspen Trump's. And then this painting is pretty much gonna be wrapped up. So what I can see here is See, I have this green color here on this side and it's over here. It's over here, so that's all good. But over here it's two different off a color. So we need to get a little bit of that same color there, over on the opposite side. So it's true that so that will be down here and then winch up my brush. And that's good enough. See, that looks good. Just wanna do from the h, you know it okay. And then these trucks here they light. So they're probably also aspen trees. And so you have a little fixing to do, actually. Let's see. We need to just skinny up the tree right there. There. That's better. Can you see how that's a better shape? Still, And it often each a little skinny right here. There, move the edge and then there should be a little bit off fixing to doing that little branch here. That green. Good enough. And what I'm thinking I want to do is I want to get a really, really dark color on my data brush. I have some leftover dark here, Doc here and going a little green side so that we can go up here ready? And now I'm pretty sure I have a nice, neutral dark, and I have it on my dagger brush, and I'm gonna check that moisture off. Okay, so I got some dark on my data brush here, Um, and I'm going to create some little Dr Rushing's across these lighter trucks, just like I showed you. Um, when we practiced doing the aspen trees. Because thes are aspen trees there, just a further away. And so they're not as light and alter the market start show what? As stock as the ones we're gonna be painting in four months. But I still want toe. Indicate that they are actually also aspen trees, and that's easily done. If we just give them a little bit of that on, then here there's some light shapes that were already there from the pattern and I'm just gonna give some of these light shapes some of those markets, too. When here's another one just gonna go in and do that Couple places where issues of that light shapes. And I could actually also say that here, next to that dock, one could be maybe an aspen tree peeking through. So just a couple of those will do the trick. Make sure they're not regular. That's the hardest part. And then we could do a little bit on that branch and there, and we've told the view these were Aspen trees. It's one little area here that also bothered me a little bit before I do it. So here I feel that maybe I needed to just make it a tiny bit greener on this side just to match. And actually, that gives me the opportunity to create a little bit more pronounced Aspen trunk there, that one can you see? That kind of appeared now and I already put a little bit off markings on it. And now I could go in and do that, marking a little bit more distinct. And make that an aspen tree. This, you know, in the shadow notice pronounced what they're. It's amazing, just a couple of strokes and it changes what you're seeing. So I think that's good. Now let's take the masking tape off. Now, be very, very gentle, especially up here, if you just rip it now from the edge here, you risk ripping. Your paper should be very, very careful and just do it on an angle. You just go have a little bit of paper there, but I think I'm okay. And it's actually better to go from the inside and then go out that it is from the edges. I did get a little rip up there out there, so we have to fix that. Yeah, and it's right out on the edge so that Matt covered up. But you see how easily that happens Even as I'm saying, Be careful. All right? You are that. And can you see how now by removing removing the masking tape. And now we have these bright white shapes, and all of a sudden it really pushes what we have painted in the background, pushes it back and makes it background. So now we're gonna paint in these aspen trees, and, um, then we'll do a final evaluation, and then we'll call it done 8. Painting The Aspen Trees: So now it's time to gets how aspen trees painted. So we're gonna use the same method that I did when I showed you how to paint the aspen traps were first, we're gonna put it would be the shadow on the trucks and decide where our light source is coming from. And for me and my painting, that would be coming from here. So that means the left side to that Sarai it. And so the left side off the trees would have a little bit a shadow on them except for this one here because she my light sources here. So that actually means this one. The light would hit it on the left side. And that's because I have a backlit. So I will try to remember that in what I do sometimes is, I am put a little arrow with by with a very light pencil in the in the in the corner where my light source is coming from. So here would put it up here, would actually have to put it here. Um, so but I'm I'm not gonna do it in this one. I just want to let you know that that's what I often do just to keep myself on the straight and narrow. And, um, let's just start with the tree that has the light coming from the left, so I don't forget about it. So I'm going to do exactly what I did before. I'm going to put little bit of water inside the tree truck. I don't go all the way out to the edges. Yeah, so I don't know if you can see that. Um, And then I left most of my partners over here because now I'm just looking for very pale graze color. And I like to use a mix off the colors I already have in the painting. At this point in time, it's not really a good idea to introduce, um, and new colors because we want harmony, you know, painting. And so I'm gonna try and see if I can do it with my right hand. I am a left handed painter, But now I better keep remembering that my shatter side is here on the right side of this particular truck, and all the others are going to have their shadow on the left side of the trucks. And, uh, I'm just trying to do it with my right hand so that I you know, if I do it well, I left. You can't see what I'm doing when I have to paint over here on the right side of my painting. So I am by nature, left handed. However, I write with my right hand because I grew up in Denmark and I grew up in the late sixties. Uh, was when I started school 60 snow was actually in the late early sixties. I should say 1960 I date myself. Doesn't matter. Um, and it was a village school we actually had. You know, I think the first in the second grade was in the same classroom because there's such a small school and, uh, the teacher there, she did not believe in writing with your left hand. So I struggled my first years of school trying to learn to write with my right hand. That's not fun. But today I do have a certain amount of dexterity with left and right hand. So I guess there's some some outside to that little sob story, right? So it doesn't take much as you already saw when we did the test run on these. So there. So the shadow on that little trunk, and then we'll get the shadow on the three other trucks that will have their shadow side on the left side. So when the trump should drive, it's time to tweet are really dark mix four the markings on the aspen trees. So I'm just gonna do like I did in my demo off that I was gonna mix all the four colors together that I have using my knowledge off color theory and create a real rich dark See, this one's going green were mixed. And then the officer to green is red. So for put some brandy and if it gets to read, what's more this in? Well, maybe some more. This one just kind of greenish again. And so you can spend quite a bit of time on this or not, depending on how good you are and how lucky you are because, you know, a little bit of luck goes a long way. So I have a bundle off different docks. No, have a doctor there, have a dock there, have a dark here, and it's all slightly different, which I'm fine with. the question. Oh, variety is the spice of life, right? So here's it. No, the one. Let's, uh and then remember, they have to be, like lots of pigment. Very little water. That's the whole point. And then, uh, gonna go over, Make sure I get so that extra moisture off, and it's always a good idea to just check Now we're doing it on the real painting, so it's a good idea. Just check it on a scrap of paper. I think that worked out fine. And for me, it's easiest if I put it on this side, and that's an easier stroke for me. And if I try to do it like this, that's really awkward. So I like to put it on, decide and then thinking about, um, perspective and I level and things like that. If you can, it's a good idea. So you know, I level would be say, somewhere around here I level or horizon line. Same thing. Um, that's where these lines, when the trees would look straight and then everything that's below would curve slightly up towards the horizon line, and everything above the horizon line was curved down slightly. And if you could get a little bit of that into your markings on the trees that just emphasizes the curve on the trees and makes it look better. So with that in mind for the move, my palate out of the way. With that in mind, I'm gonna just give the bottom part here and a little bit off a curve upwards. See that? And then make sure that all the way out to the right there. So that's pretty good. Me sister show you can. You see it has a little bit of an upwards curve and as you go up here, so there's always some of those stock markets right underneath where the branches are coming off the tree. So I want to get some of those in show up here. It'll be more straight and and then the other thing is you want to make sure that nothing is true regular, so I like to skip around so that it's not like, you know, do all the markets with the same distance and the same with and stuff. It's actually harder toe, um, not be too precise. It's randomness is not that easy force. If we don't think about it. We just do everything like, really symmetrical that doesn't read, write in a painting. So here you can see that I'm going a little bit the other way. I'm curving down a little bit, and it all helps and then put it up there. And I want to get a little bit in on these skinny branches and then underneath this one here a little bit more. And sometimes it's nice to kind of drag your brush down to just get some marks, especially now that it's getting drier like that and then a little bit on this ranch, especially up here. So it's kind of I don't have that going from, like to know the hard edge and you want a little bit more. Let's take a look. That's pretty good. I think there might want to get a little Sometimes I like to give them like little No, not It's like where branches broken off and then a little circular underneath. You know if you can see that, All right, then let's move on to this little guy. I think that's good. So, uh, the last thing I want to do on mine iss I will probably grab a little bit off my white paint here to create a few branches on my aspen trees to overlap my background a little bit more. So I went out and raided my kitchen again, and I grabbed myself a little porcelain bowl. You. I mean, I could totally use one of the mixing areas in my palette or the lips. Quick, use the lid of my power to do that. The only thing is, this is very opaque, and I don't want it to be mixed in with my regular colors. You know, my watercolors. I don't want them to be a pig. So that's why I like to keep my white separate from my watercolors, Um, and so just tapped out a little bit and it's sees. It's quite thick, and you don't want into thin, because then it becomes transparent, and it won't show up when it drives. So I used my little tiny rigger brush good little water on it, not too much, and then I just kind of put the tip in, pick up some of that white paint, And now, for those of you that are purists, if any of your purest watercolor purist. You would not want to do this because, you know, then it's not 100% transparent watercolor. But personally, I don't care too much. So here. I'm gonna pick up here and just a drag that bridge across Go across there and I'm gonna give it couple of side branches, and, uh, I just given a little bit more character dimension way. You can have a lot of fun with this. What, To skip this completely. You don't have to do it. If you're happy with your painting without the's little side branches and twigs, go for it. There was no, you know, it's not like a rule that you have to have this, so I just want to show you, but that's an option and how to do it. So here's another one that's a little bit bigger, Of course, like this, Like this and a little bit down there. I think this is probably enough. So once you're satisfied with your little branches, you gotta let him dry. And this is a good time to take. See this water here, see how milk it iss I don't that and put fresh water in before I brings out my watercolor brushes again because I don't want them to be rinsed out with this, uh, opaque paint in the water. So I have to wait until my white paint is completely try. And, um Then I can go in and put a little bit of dark markings on those little tweaks that I painted in. And I also have a couple of places like, um, here. I just wanna find whom That and with my little flat, cheap brush, just gently soften that area a little bit. Just so it really looks like the branch goes behind that factory. And, um, then I take my little wicker brush again, clean my water, don't have dirty water anymore, And then I'm just gonna roll this little wiggle brush in some of that dark paint. So now everything is dry. I want to make sure that I don't paint on top off with white paint. Shouldn't get it into my watercolor brush and into my palette. More importantly, um, so I'm gonna roll it in some of that dark paint I have on my palette. And then I'm just going to break up that white here and there, and I can even put some little doc branches on true from or those because very often these branches actually look dark when you look at them, even though their light that's proportional from their backlit. So I just want to break up this, you know, unbroken white. What? It doesn't look right, and some of them give them little dockside branches. I don't want to overwork it. It's the hardest thing is to know when you're done, and, uh, I have a tendency to be a little too perfectionistic. Sometimes I find so I'm gonna try not to overwork it. Then it's always a good idea to let it sit for, you know, a day or several days, or at least walk away from it and then evaluated when you come back and see this, anything glaring things that are sticking up and bothering you. And if not, if you can't think of anything else to do, that means you're done. That's always, uh, my rule. If I can't think of anything else that means I'm done, and I think I'm very close to that point right now. Off being done there, we have it. So when you've had a little chance to evaluate it. It's time to put a man mad on it and see if you like what you have created. So here is my finished painting. And, um, I think this is frame worthy, and I think it's done. So, um, I hope you enjoy this a demo in this class and that you learned some new things and that gave you inspiration to We're trying to use this method in some of your paintings. 9. Class Project Description: So for your class project, paint your own fantasy forest with aspen trees using the techniques you learned in this class. And, uh, make sure you post your finished painting on the class project. Valerie, I can't wait to see what you create it. Thank you so much for watching. And I hope that, um, you post your class projects in the project gallery and if you have any questions, please feel free to contact me. I will be happy to answer whatever questions you may have so happy painting. 10. Wrap up: So I hope you had fun in this class and that you painted along. If not, I have a handout with all the steps that I went through. And I hope that you will post your finish painting on the project gallery page. And if you have any suggestions, toe other topics you'd like me to cover in another class, please contact me and look forward to seeing you in another class, wishing you happy painting and see you soon.