Painting Simple Skies And Landscapes In Watercolor | Eva Nichols | Skillshare

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Painting Simple Skies And Landscapes In Watercolor

teacher avatar Eva Nichols, Watercolor Artist

Watch this class and thousands more

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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

13 Lessons (1h 48m)
    • 1. Introduction To Painting Skies In Watercolor

      0:41
    • 2. Materials For Painting Skies In Watercolor

      4:08
    • 3. Painting Simple Skies In Watercolor

      10:47
    • 4. Painting A Rainy Sky In Watercolor

      7:55
    • 5. Painting A Sunset Sky In Watercolor

      8:31
    • 6. Painting A Night Sky with Clouds In Watercolor

      6:32
    • 7. Painting An Abstracted Landscape

      11:37
    • 8. Painting A Winter Landscape 1

      7:14
    • 9. Painting A Winter Landscape 2

      12:59
    • 10. Painting A Sunset Landscape

      11:31
    • 11. Painting A Rainy Spring Landscape

      12:11
    • 12. Painting A Full Moon Evening Landscape

      13:26
    • 13. Wrap Up Painting Skies In Watercolor

      0:57
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About This Class

Painting Simple Skies And Landscapes In Watercolor

In this class I will show you how to paint a variety of easy skies using wet-into-wet, wet-into-dry, as well lifting techniques. I will show you how to create easy landscapes from your initial skies and show you a variety of painting techniques to create atmosphere and depth. 

We will be painting 5 different skies in this class, and I will show you how to paint 5 very different, but easy landscapes using the skies I demonstrated for you.

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 watercolor landscapes! 

  1. Introduction and samples of finished paintings created with the watercolor techniques we will use for this project.
  2. Overview of materials for this class.
  3. Painting demo of 5 different skies in watercolor.
  4. Painting demo of 5 different landscapes using the previously painted watercolor skies.
  5. For your class project you will paint your own interpretation of skies and landscapes using the watercolor techniques demonstrated.

Please make sure to post your painting to the project gallery – I can’t wait to see your skies and your landscapes inspired by this class.

 

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Meet Your Teacher

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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

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Transcripts

1. Introduction To Painting Skies In Watercolor: I So today I'm gonna show you how to paint a variety of skies. We're gonna keep it simple. Today we're concentrating on the skies and then I'm gonna show you how to paint some different little landscapes that are very simple on top of this guy's that we create. And I want you to really pay attention to how the colors in the sky really sets the mood for the painting. So grab your materials. I'm gonna go over them in the next chapter here, and then we can get started. So have fun. And I see you on the other side. 2. Materials For Painting Skies In Watercolor: so the materials were going to be using its of course water kind of paper. All power to paints to Joseph Water. We're going to use some tissue. Three. Knicks. We're going to use our spray bottles, preferably if you have one, that misting and then which those are the ones that you could get anywhere. And then if you have a spray bottle that do kind of like a dark cabin, it's always helpful. Um, we might use some salt. We might use some asking through it. We might use some white paint of some sort. I have this one here that's act recover by creative Marxism That's called liquid watercolor paper, and it's, um, decided to cover just bright white paper, which is what I paint on. But don't worry about it. Any kind of white watercolor pain to have a wash, um, or what is soluble ink? Or, if you don't have any, that's also fine, because you could get the same yourself of similar results with using them asking to it. And then we're going to use Mr Clean Magic Eraser. If you have that lying around in, you want a tool or maybe out in your cleaning supplies. We might use that for lifting out some clouds or softening some edges, and you can also use instead. You can also use some cotton pats like a lot of you ladies. You probably have that maybe in your bathroom, for you know, you said, taking off makeup and stuff like that, you could actually also use just a little sponge. So there's many ways off off using different tools, and a toothbrush for splattering might come in handy. Oh, to brush, not the one you brush your teeth will. Just being funny here. We might use some credit cards or plastic cards or room keys or whatever you have or a palette knife. These two things they do basically the same. It's if we're gonna scrape out something, maybe in the foreground. So it's not so much for the sky. It's just if we want to put a little foreground on, then these here would come in handy. We could also think of using a white gel pen on, and we have our brushes here. I'm gonna use a couple of these big ones just to get the water on whatever you have. Um, and here's my big remember 30 round I have a number 12 and number eight round and then I have my usual data brush. And then I have the reverb Russia Noah best again would probably be more for the foreground . And then I have this stick Stiff Hawk hairbrush That's actually one of student Equus precious. If you've seen any of my other watercolor video, she might have seen me use this brush or comb over. This person has stiff hark hair, so they're very stiff so that it's also great for splattering and it can also be used to lift out and softening edges with. So I grabbed that one since I have it, and then we might need an X Acto knife. But all I know, a lot of this is you know, it's not necessary. I just want to show you how it can use all these different tools to create different effects in the sky. One more thing that we will using ISS a stencil like this, a circle thinking template. They got it that, uh, one of the office supply stores. So we're gonna use that to lift out alone. So grab your stuff and let's get started 3. Painting Simple Skies In Watercolor: So let's grab a piece of watercolor paper. And actually, I didn't mention that in my Mitch is I'm actually using the backsides off old watercolor paintings. And, uh, if you have some full paintings where no, the backside is fairly clean. You can see there's a little bit, you know, pink from the front on the backside here. But I'm not gonna worry about that because I think this is a wonderful exercise, especially for for those of you that are fairly new to watercolor that way, I think, you know, if you you, sir, the back side of an old painting, I think that might free you up So you don't feel so precious about your paper. So I have a bunch that I cut up to win besides eight by 10 because that fits into a standard madam framed that's delivered by 14. I always tried to pit a standard sizes because every time I paint on an art size, it turns out to be, you know, looking great. And then when I go to where get it framed, it's, you know, way too expensive before to have every you know, that I have to have a custom made. So let's get started with the 1st 1 I wanted to show you is just a beautiful blue sky And let's get all pigs out for that. Now I have cobalt blue on my palette So that's the blue that I usually used for skies. Usually I tone it a little bit with another blue because I mean, Copal was not really, really depends on where you live. But I don't think it's the best. You know, color what the blue skies just used like this. It all depends again, you know, way in the world you live and what kind of day it is and stuff. But I usually like to mix it up with another blue. And then this time I think sometimes I do it with the end. What blue At this time, I think I'm gonna go in because I want, like, a really bright summer sky and get some of that peacock blue over here. And then that way I can kind of mix them and get a little bit of a variety in my blue for the sky and then one other color I'm gonna get out here for a team blue sky is this time I'm gonna get a tiny, tiny bit off the Queen Apple gold out because sometimes you know, down by the rise in mind, there is almost that just like a warm glow. So I wanted to try and do that and, uh, when stop my brush And now I'm going to take one off my big brushes. It's gonna go with this one. This is a new brush. I haven't used it yet. It's, um, at 3/4 inch dagger brush from Rosemary and company. I bought it last year. It was kind of pricey. It's natural hair, so they will hold a lot of water. So I thought, pick, I put that brush so long time going. Never used this ridiculous. Ah, that's one of those things when you want a colorist. I mean, we really do not need all this equipment that we buy, but it's just kind of fun. I don't know. It's a sickness, so I'm taking care toe wet my paper really well, and you can see I'm painting on £300 here, so it's a very stick watercolor paper. If you're paying on 100 and £40 you would probably have even more off this bubbling going on. Can you see how kind of bubbles up? And that can be really annoying. So what you could do is you can just scrape the back side with a little bit of water, and then it will relax. In that way, you could get your watercolor today flat for you more and give it a little time to just kind of relax. It would access to fibers that way. You know, the front and the back are equally damn and fight fibers. They get bigger when they show up. All that, All that water. See how nice? It's anomalous, flat, perfect. And it also stays wet longer that way. So it's a win win. Okay, so I'm gonna go into my blue, and I'm just gonna get some of that blew one up here, and then I was gonna move down. And the thing about this guy is up here at the chop off this guy at the top of the paper. It's dark blue. And then it gets lighter as it comes down towards the horizon. A little bit more up there, and you can see how you know just drag my brush and you want to get all this done while they're still damp. And then I'm gonna go in and, uh, take another brush, Gonna take my dad a brush, and I was gonna get a little time bid off this capital gold on and just try and get a better that sunshine down here just like that. I don't want to turn green. That's the That's the key. That's why I chose Could happen on go because it's a warm yellow. And, um, when we had this diluted, it doesn't really turn green, but no, but there's how beautiful that looks. I think we can live with that. And now I'm just gonna put that aside and let it dry, and then we'll reevaluate it, and then we'll move on to another type of sky. So this is your nice blue sky, no clouds or anything. Nice summer day. So for the next sky will still have a nice blue sky. But now it's, um, that late afternoon, where the sky is beginning to get that very, very light pinkish tinge as the sun. It's moving down toward towards the horizon and typically especially in the winter. You see that a lot. So that's the type of sky I want to do this time so we can get some more our core vote out . And then, um, this time this time I'm going to get a little bit My French Ultima me blue some water French ultra marine blue. I don't know if you noticed that copal to a certain degree. Also, they kind of dry harder than a lot of the other car. So here you can see Can you see French Ultra Marine blue? Can you see how it's a more off a purple blue? When you put it in here with the other two crews, you see the difference. And instead of using the people who I think I'm gonna jump up and use a little bit off the end work because it's a darker color, but it still has a little bit of a took warsi. Once you shape to it to stock up, I want to get a little bit of that in the course is up saying now it's the later afternoon so this guy would start looking a little bit darker, and then we're gonna go in and get a little bit off a pink, and I'm gonna use offer Rose. Now, if you don't have ah Perot's or you don't like to paint with up arose, course it does. It's a little bit more fugitive than the other colors I'm painting with. You could told you, sir Connected Own rose or permanent rose. They have permanent rose there, But I like I like the opera motion. I'm just gonna use it. All right, so we're gonna do the exact same thing, grab a bigger brush that hold a lot of water, and we're gonna wet almost the whole page because I don't want to have any hard lines where the color fades out because it gives me many more options off what kind of landscape I want to paint, you know, to go with sky. So go almost go way down and make sure I didn't miss any spots. And then you could see the same things happening like it did earlier. Things such buckling up and all we need to do is turn it over and scream upended water on the back, and that's gonna relax it just a little bit right. And then I don't know if I pointed it out. But, you know, I'm using my bigger brush for the sky because I don't want everything to be smooth for these types of skies. Um, so a big a process better putting those blues. And they're just mixing nicely here in the palate. So that's great. And make sure you get a lot of pick men up there on the top, and then it's we moving down, you know, gets lighter and have to get all this done. One is still wet rims off my brush, and then this time it's gonna go have a little bit of that pink de duct up, and I'm gonna get a little bit of that pink glow, and you can see it gets more lamb indoors. We move up and I want to have a little bit of that lavender. Call him up in the sky. There gets Pangalos, we go down. So that's a nice cold. Winter Day is what it looks like to me, and it can be either early morning for made afternoon. It's like it's beginning to fade away, and you want to make sure you can say that on the 1st 1 If you have any water puddling around on the edges here, off your watercolor paper. Make sure just get rid of that. And you can use gravity toe help the college mix and mingle a little bit. I just needed, and then we can put this one aside and wait for that to dry. 4. Painting A Rainy Sky In Watercolor: So for the next guy, I'm going to show you where shower is coming in and you can see, like how the rain is coming towards you. Often you'll see that over body of water, for instance, and you can kind of see how the rain comes down to. How do we create that? Let's try and figure that out. Let's get some new colors out. I am going to go with my cobalt blue and I'm gonna wait down a little bit with a little tiny bit off burnt Sienna. Okay, maybe I know, too. Make sure you don't have it so that it's like Brown, because that does not look very good. Can you see how that really told down that blue? So there we have that me and I'm gonna have a little bit off my indigo. It's a very dark color, Superdawg new and I'm gonna set out, and I'm gonna put some French ultra Marine blue into it. This and another blue that's really good to use is in dancing blue. I don't have that one on my palette, but that's another good color to use. And we do wanna just tone that down a little tiny bit, make it a little bit more grazier by putting a little bit of bird shit. I was not quite enough because that indica was super strong. It needs a little bit more that there that just graded down a little bit. And if it depends, I have my indigo from Winter Newton and it's a very, very strong color, and it's so it has quite a bit of. It's leaning quite a bit towards the yellow. So if you just have the indigo with With birth Jenna, it's gonna turn green, and I don't really want Green. Green is usually not the best color force guy. That's why I have some of that French ultimate bringing in to take that green tinge away. I had to put a little bit more, and I do have a little bit off my my Could Apple go down here, I don't know, are see what happens as I'm painting, and my put a little bit of that in for that. You'll glow underneath this arranged on coming in. What? See how it goes? So Russia's wrenched out before I continue. You know it's not good to wear. Leave your brushes in the water like that. Remember, that ruins the handles and and it's not good for the for the bristles to have the pigment dry in them. So you always want wins him out and make sure they're formed nicely back again. And there original shape. So that way you keep the tips much longer and you keep your brushes good much longer. So it's really worth it. Taking good care of your brushes. All right, so now this is gonna be kind of exciting. So again, you're going to without paper and make sure you get a good and wet because, you know you want the colors to flow. If you have a dry, you're gonna get brushstrokes in your sky, and it's not going to look all that great. And also make sure you don't have any dry spots in your sky for doing these types of skies because then you'll get some hard edges and some white spots in your sky. Well, maybe you didn't want it so again here. I'm gonna go all the way down almost all the way down longer and further down than I want my sky to go. And again I have seen. Same issue as we've had. All of that doesn't change. Some things stay the same. Just making sure that I don't have any dye spots. And again, I'm just gonna give my little backside a some spray so they can kind of relax, and the water has a little bit of time to sink in. And I'm going to go ahead and start painting in that great down Knew that I created here of that. And it's gonna go down the paper with this blue. No. And I am going to put a little bit off that yellow glow in, and I'm gonna use my smaller brush for that. I'm gonna go down here and get just a little bit of that, you know? No. Could it out? Don't want too strong. Just like to have that little glow that could be pretty there. And it's not turning green. So that's good, because you don't want that. Okay, Dokey. So now comes the exciting part. So now I'm gonna take it. That's creepy. Thick paint. Can you see that? Pretty thick. I'm loading up my brush and I'm useful. My half inch dagger and I'm going to drag down like this. This rain coming down like that. I had a little bit more and Jim's dragging it down like this. Hope you can see it. And then we want to hold it a little bit like that. And did it kind of spread out? Not so happy. Would just tell the absolute truth. Yeah, and then I'm just gonna have to get it. Let it be a tissue, just like my board. Just make sure I don't have any running backs here on the edges in there. Can you see how that looks like the rain that's coming in? I'm gonna have to let that dry. So I'm gonna put that over to my drying my drying station. What I do when I am, put them over to dry to take a couple of pieces off my paper towel usedto viva original paper towel. And then what I do is I just gently put it on here and let it dry that way. Drives pretty nice and flat 5. Painting A Sunset Sky In Watercolor: So now let's move on to a sunset. Who doesn't love to paint a beautiful sense it So we're going to stop with Issa Cobalt blue . Get some of that in here. And then I'm gonna get some end with blue in here with a cool box. So do a bit of the end. Let them say no here. That creates a little bit of a deeper blue for that evening sky. And then we're going to need a pink. And this time let's go with our permanent rose. Or, if you have queen Appetite Rose that work weight to it could also have used my upper rose. But since I used that in one of the previous guys, I thought, let's say go in And you some off our permanent rose. And so we want a nice that here and in set out. And we can always check, you know, our water and look at that beautiful lavender calling. Get there so that that's great for a sunset sky and permanent rose. Just one of the stain in color shall make sure you get it out of your brush. Well, okay, so we're gonna get one more red and we're gonna go with Queen Ecuador Red, which is more offer true grit. We're gonna give a little bit of that one in. We need quite a bit of red. The reds are going to be our more water between on the yellow and the blue so we don't get green in our sky. Course, That's really the only color. Not really that crazy about in my sky and you can see still my waters looking lovely And, uh, then we need some transparent yellow. I'd like to go with transparent yellow for this because it's a nice, very bright yellow. And there we have it. And then, of course, once we get that mixed up with everything you can see, we get kind of like a promise color. That's why we don't We want all the cars to mix together. All right, so let's wait all sky once more. You asked like we did the other times. Water on paper. Make sure it gets nice and short so we don't get any streaks in our sky again. I'm gonna go down this one. I actually might go away down, make sure I don't have any dry spots. Go the other way again. I don't get that usual bubbling. Take care off in a minute. It's very important that you take the time with this, get in the water on and give it a little time to sick and sink into the paper. And then you might even have to reapply. It all depends on, you know, the climate you live in. So there's that and then just through the same thing, spray in the back there. And in this time I'm gonna probably use my number 12 brush. So I'm gonna go in and get a little bit of that yellow on the tip of my brush, and I'm gonna go in and put that like here and maybe down a little bit. And I have a movement of white inside, and then I'm gonna go in, and I'm gonna get some of my connected on bread and I'm gonna put that around the yellow. It's my border. You see, it's my border between the yellow. And once we get to the blues and, uh, I want to make sure that things don't mix. You don't want all the colors to mix together, and then we're gonna go in with some of our purple now, not purple pink. Sorry. It's gonna turn people, but not just yet Pink and get some of the pink in and get some of that up to the sides here . And then we're gonna get I'll do around here and down here and on this side siege already getting a little dry here on the corners. I can get a little bit pink in here. All right, So brush. And then we're gonna hold up our paper and let gravity stop moving these paints around, and we're going to take our Mr Bottles. And while we move, our hands were going to spray in a little bit and move the pigment and I'm spraying from the middle here. Course, I don't want to lose my light in there And sure, moving it back and forth, back and forth and keeping a close eye on my color so that I don't have my blue on my yellow running together. That's my main concern. I don't want them running together. Make it a bit more spray here. And why was all this wet? I can put in a little bit more off that yellow and I could put a little bit down here just to get that blow. And I can also take a little bit off my rich in my pink, and we want a little bit of that out here going to run my colors out. Okay? I think that's going fine. Oops. And then I'm just gonna pick up here. Rondo's if you get those muted colors running down to a corner and gently pick it up with a tissue, Right? No fingerprint there, but that's OK. See that out there on the edge? What? That's gonna to be hidden by the Met. Anyway, this trench into painting gonna worry about it. Just gonna run this one back down here. So this is a little bit more kind off hidden mess, and it takes a little experience to get a good result on this. But don't worry about it. If we have some list attractive places in our sky here, we can always cover them up with whatever we have in the foreground, so that with just four, we can crop it. I mean, there's many things you could do, but I'm OK with this. I was you know, I also like to say you got to be just happy with what you get and make the best of it right ? Watercolors in life and I'm not going to try and mess with that. If you start trying to fix things when you have a wet painting like this, I can almost guarantee you that from a little boo boo, it turns out to be a pick disaster. If you try and going now, now we just have to let it dry, and then we'll see what happens when it's dry and we'll see what we can do with it, and that's half the fun. 6. Painting A Night Sky with Clouds In Watercolor: So the next guy I'm going to show you is a night sky So let's get on Congress for ready Spray them more. So I'm gonna go with I didn t go and some French ultra marine blue you could go with just straight into go. You would also go with Payne's gray if you have that one. But I do like to put a little bit of that French ultramarine blue in to get that nice And Dan Teran blue would be another good blue to use for a night sky I haven't And then going to a widow paper Can I think I'm company with this one all the way down to just so I don't get a hard edge, just leave it here and then we You sure thing, See how it's bubbling up. Give it a little bit of a spray on the back side, Hammonds And now we're going to good stocked up color on our sky Now just going with my big brush. I'm here, we're gonna I'm gonna take some off the Indio and really get the top. You're sure with dark because you have to remember watercolors, you know, it tries quite a bit lighter, then what? It looks like when you first put it on. I'm just gonna go down here. So my brush dab it and make it a little thirsty. And maybe I'll pick up a little bit here Just because I'm thinking maybe I want to do like a body of water. You have so little reflections. Pick it up. Can you see how it's pulling there at the top? Man Short Just wanted. Relive it over and little one down like that. You see that? I'm gonna get it back, Ben, and run back down again. So if you can't see it there But can you begin to see that beautiful color night sky? It's kind of a messy business, especially since that thing that was quite the strong color. A little bit of there, my little thumb print. This is not advisable to do this at all. She had just lifted. That's okay. I can show it. So now I showed you what not to do. You remember? I said earlier that when you have little things, there should not try and fix them. See what happens. That was my own fault. I'm not gonna worry about it. So now that it's beginning to dry, what I thought would be kind of fun ISS to try and take a piece off your the next door. You know, paper towel. I think Kleenex works better. Yes, here. I'm getting a pickle blue anyway, So I'm gonna go in and try and lift out some little clouds in the sky, and the pigment has to be begin to soak in a little bit before works. Otherwise, you know, it's just gonna run back in again. And you want to make sure that you get a new area off the phoenix every time you try and lift out and cloud sudden puffy a on the top, and then they're more flat at the bottom and you're higher up. They are. They're bigger, and then lower you get their smaller. That's how flowers are That has to do with. I was gonna lift in a little bit smaller cloud down there. Just not us. And I could lift a little bit. Here, have this space look like some clouds are moving in on this side too. Yeah. Think of gonna kind of pretty sure leave it. No, I think that's a nice cloud formation. And see, that's my own boubou there because I try to go in and fix a little time, so don't do that. Now. I showed you what not to do and I'm not gonna worry about. Of course, you know, I can come up with something that's gonna cover that up. So now we're gonna put that over to dry, and then when it's dry, I'm gonna show you how to lift out and move. 7. Painting An Abstracted Landscape: So here you can see the sky that we paint it with a lovely warm glow with the bottom. And now I might destroy the whole thing, Who knows? But we're just gonna be experimental. And what I have here is just a three different colors straight out of the tube. Um, I have purple magenta, I have a dan front blue, and I have a bird Chinna, from a brand of water colors that are from Poland. And, um, I I would suggest I mean, try out some of those colors that maybe you have lying around that you don't use it off often for this kind of thing. It's really fun. And I'm just going to spritz on my dot bottle some water here and there, there, in here. And, uh, I don't know if you can see it. Kind of like that Totally random. I'm gonna grab my pattern eyes, and I'm gonna just, uh, dab it into those three colors noted up kind on the edges like that. And then I'm gonna go in and create some patterns here, and it's gonna hit dry. And it's gonna hit wait water comic paper and knows what's gonna happen here. I have no idea. And I'm just going for it, just creating some patters. And she loaded up with some more hate. And I want to create some chicks like this could be some trees. And let's get some going from here. That looks fun. That's what it's all about, folks. Fun. And then I'm gonna get a little bit off that magenta. And maybe I want spritz in a little bit more down here. I've been going with just the flat of side. I'm just having fun, not taking his truth seriously. This one, that would go a long way out. And I want these here to come from down here and let's see, maybe I want to take a little bit of that French and I have here. You know, my I just wanna have not so much white down here at the bottom. I just want to neutralize that a little bit just and at the edges here. A big believer in kind of pushing my viewers into the painting. That a piece of land, I think sticking out there. What do you think? So I don't have it, boy. Sean home. Yeah, French. My night of my cough, and I think I might want to go in with my credit card here and that up. And then I want to go and kind of build on this shape I have here. That's a tree that's coming all the way from down here. There. Can you see that? And I wanted to the same with this one over here comes from down here. That's what you know, bigger. Make sure it doesn't have the same slam as the other one. A bit from the other side. Make truck. Little fickle. What could possibly be some Aspen trees? Told me possible. Let me see if I can scraping here and get a few 1,000,000 textures. Aspen tree textures here? No, the one coming out like that and create some coming here. Not quite a speak. Yeah, And here, get a bit more for more central there, baby. One behind here. Scrape out a few rocks. That's always good. Yeah, set that movie I have there. And, uh, she did that in the throughput of water. What would happen? Yeah, extend that branch a little bit. She here, here it out on. I think I might want to go in with my rigger brush. First of all, I want to get a little bit at one car here, and then I'm gonna dip into this stock called I have here and pick up some of these shapes . Find truth a little bit Smoke come from down here. And I want to make sure that I don't overdo it. So said abstracted landscape. I have just having fun with those. So those skies that we painted just, you know, once the wind just gonna play this what I think. And so it's just see if we can put a little bit more fat, probably calling and see if we can create some little why was possibly there just the water . Take it. If I may, my brush down so I could get that to skip a little bit, too. That's great. So it kind of makes those shapes there. I like that idea. Should know there. And maybe we can pull this one down and I'm gonna go in off water. Yeah, and then I'm gonna go in with that method that we used for our Follett's for insidious trees. And I'm just gonna put in a little bit like that. And I'm not doing them green because, you know, it's backlit. And, um, you can't really see the color, the true color, You know, when things are bad, Major, stripped dark. I think that's pretty much all I'm gonna do to this one. I think that looks fun. What do you think? Mysterious. 8. Painting A Winter Landscape 1: on this next landscape, I'm gonna use my little stiff hawk hairbrush, and I just dip it in water, and then I'm going to just run it across straight up here and just run it across getting bigger and bigger and bigger like this with water, you know, if you can see it and then I'm gonna dip my brush into some of this blue that I use for the sky to maybe a little bit more off the peacock blue here. And then I'm gonna do the same thing. And I can't really see whether water is, But I'm just gonna serve some places I'm gonna hit wet and some places I'm gonna hit dry. And then I'm going to just drag it across like that, and that's going to be maybe a little a little water running through the frozen snow. Gonna get my brush and get a little bit off the end. We're bound to get a few little variations in color just dabbing it in like this. And it has to be horizontal because in this is no little bit of Landers. You know, on the other side, snowbanks on that side of snow banks on this side. I'm going to go in here just shaping that. I think, Yeah, you really don't want to fiddle with it to know That's the hardest thing stopping when your head So there's that committed that dry. And then I'm just gonna go into a few little things once that's trying to wear quick, create some feeling off snow, and maybe we'll have a little vegetation going up. So now that my little stream has dried, I have to wear get in there and then kind of split the landscape up a little bit. And I don't want to cover up all my beautiful a blow off that very, very soft pink there. But I do need to build up my for around and my middle ground. So I'm putting a little bit of water in like that. Can you see it? Well, I think you can put to see you like that, all right. And I'm gonna build myself a lavender gray color with some off the cobalt blue a little bit off peak up blue and the opera rose. And then I put just a hint off the burnt, uniting two great down a little bit and I want to keep it quite light. So I was gonna go Been like this here. Yeah, and I wanted to just a It's banquets. And let's see what we can do. So little tree shapes here. You want to keep them quite light at this point talking. All stop, right. I just want to keep them night, put a little bit, come in and sure you can't chop too much when I'm doing this. Maybe I should do a voice over. I still really like what was myself I put for when people are just talking as they are going. But I know in certain circumstances like this one here could be really hard because it's much easier. Actually, when I'm painting, you know, when I kind of know what I'm doing here, it's like I'm watching what's happening on the paper, trying to react to it. So we didn't have to be in the moment. So that's why it's hard to talk sometimes when I'm doing these kinds of things. And so here I'm just, you know, informing the rich by painting what's behind it. I want to make sure that I don't cover up on that pink so that pink is kind of showing through. I'm beginning to like what I see here. See that somehow we have that going down there was like a slope going down and let's see here. Maybe we need to just fine tune it a little bit, quite got that a little I sat in. This one needs to be fixed a little bit and then here on the other side, we need to also create. And that's actually what I want to do. I think Do you know what I want to do? I want to put a little salt inside there. 9. Painting A Winter Landscape 2: I'm gonna try and put a little bit of salt in there. I don't know if it's too late, because I think that would be awesome to have a little sold action there. All right. And we'll see how much you get out of that. I might not get very much out of it. And then I have use other slope here that's in front. So the trees here would be a little bit further forward. And that means they will be a little bit and also maybe a little bit darker. So I just put a little bit of water in like that. So I have a little beginning off my trees, and God wanted you should a little bit more off that p cook. Still great. Down a little bit. You see where I put that here? Yeah. Do is going to give myself that little which there. Okay. And do what? Be fun to put probably between. And I'm gonna a little bit more with like that and take some of that extra moisture up and let's see, so we could go up further. And this is one of those. If you have too much coffee, it's perfect. Of course. You need to have that kind of like a nervous movement. Just spritz in a little bit more. Of course. I want to make sure that I get some that 40 nous. Yeah, you haven't. Yeah, that looks pretty good. And again, you know, I want to make sure that I don't cover up all that pink. Wouldn't have that shining through in between several greens. Okay. He was just a few knows Spark, please. And out here we go up further and again spritzing up here. You know, they're, you know, back there, there in the background, so I don't want him. That's why I don't want them to be to hot edged. And here it could go up. You know that. Let's make sure that you could see what I'm doing here. Actually, before dries on me here, she would put some salt on to get some that sold action. That's such a good method to get some kind of fast. You look on these trees. I do have some of that thinking. Do that and we have it. I need to have a little bit darker there. Make and now better. I'm sure that I have it so that it looks like there's might support for this green. So it's not all we shan't. Why not all political. So, you know, I can kind of connect the shapes and then that story from salt at it and cross your fingers . What can you see? You still have that lovely shine we have that coming out. Understood? Just gonna work a little bit with our foreground Here. Split that off a little bit. I think I want a round brush for that. That and now we need to find a good show home. Okay, so let's start here and right away you got it with this. And there is the first rich snowbank. You see, That all right would do one more. It's going to use this big brush that's gonna go That and then I'm gonna go in here, flip it around so I don't lay my hand into paint. And this is a little bit more purple. E just Raina wanted, you know, have a little bit of variation in shadow color to go forward. Yeah, he said here it doesn't have to be so Stevenage and want to pick out a little bit of highlight some of these bumps here. Yeah, and then be a bit of shadow. They called again. Just cool, then out. Can you see how we now have forms on this little four And I want to put a little shadow deeper share down here just like that, And then I'm gonna just lead out. Yeah. Short, distinct. Okay, that's good. And then we're just going to do something similar on the other side. It's true that a little cooler, more blue, lots of water. We still want to read like snow. Then here, stream like that, lift up just a little bit of high, right on the top part, just like that? Yeah. And then we can go in and do a couple off separations. I don't like that. Show another one. This one here, shut down the bottom. Yeah, and then just a little bit of this one just cast. It'll shadowing. Here. There. We have it. Okay, so there's a nice, very wintry landscape with that sky that we created with the pink globe, and we have a little bit of that. The same colors is reflected in the snow, and it's not completely dry. So, um, we're gonna wait until it's completely dry. Then we can dust the salt often. It'd give me a little bit of texture, Not like a whole lot. But I think fine enough for this little landscape. And, uh, you know, we could put in some little Twix and things like that in the A couple of places in the forefront. We wanted to just gonna show you These are not gonna be like, you know, super perfect landscapes by any stretch of the imagination is just to give you ideas and show you the methods. And then you can, you know, do it more detailed manner. So there's going here and see if we can She could go in and you can push on you, you know, twigs and stuff sticking out off the snow. And again, I always have a family thing, just spritzing in a little bit of water so I can get some of those Farsi things. I think they look so good space for snow landscape. So they should be that going on. And that could be a cut more sticking up here. There won't be a speaker sees here because, you know, there for the way. And then we can have some smaller ones over here and again. A little bit of Scripture. Maybe a little bit, Dad. So they're not so prominent before. Step through that way. Once there. And then what you want to do is you want to give them a hint. Doesn't have to be much. Just a little bit of a hint off a shadow where they're coming out of the snow. Sure, And since this is a little night, I'm not gonna You can offer Kasam, you know, little shadows across the snow, but not too much here. Of course, you know it's waiting light so you won't have any strong shadows. If you want to say that it's a Super Sunday, that's when you cast really strong shadows. But here is to know something like that, and we'll call that done. It's 10. Painting A Sunset Landscape: So here's our dry. It's sunset scene. And now I'm gonna take a ruler and try and find out where I want to have a horizon line. And I like that. I got that yellow reflected down here. So I'm thinking, I want something with a body of water. And so I think I do, yes, as my horizon line and has to be straight. You know, That's why I'm using a lot. Just keep myself on the straight and narrow. Okay, there we have it. And then just gonna go. Then I want dick down, and then we really go up here like that. Okay, You can barely see the lines, but you'll see them very soon. When I put water on. And, Peyton, honey, I got my puddles ready. The same colors that I used in the painting. Uh, I have some upper pink. I think that's what I use you might have used to permanent rules, but I'm gonna use opera pink, and I'm gonna use my cobalt blue. And I have a tiny bit off the transparent yellow over here, and I'm going to mix myself and watery lavender color, and I'm gonna take a little bit of the yellow, and that's gonna bring it down toe. See how that great it down. Did you notice I? Because then I'm basically mixing all three primary coast, and that's exactly after. So there we have it, and then I can vary it a little bit, make a little bit warmer, making a little bit cooler, and then I'm going to use probably my number 12 years good t water. And I'm gonna put clean water in the hole shape, land shape that I have here. I'm gonna be very careful that I get scraped at the horizon line that it's really important . And then I can go and just stay just barely underneath my pencil line for the rich here that I do in with a very, very light pension line. I don't wanna go all the way up to the line because the water does have a tendency to seep a little bit. And I want to kind of get a nice hot edge here and sure got enough water fun. And so now I have water on my band shape. You hope you can see it. And I'm gonna start going in with this bus that I just loaded up and I'm just going to put some of that called on here, and I'm gonna dip into the various puddles areas off my puddle there so they get a variety of color. So it's not all the same, but still in the same family. More pick on here. And I'm putting it on in a very transparent manner because the whole idea is I want the color that I originally put on this sunset to shine through when it dries and winch out a little bit there. And now here I just take a little bit of the pink and the yellow. Well, that's which was strong, but not story joint town. I just wanted a strong going in here. Great down, joy. I have to wear flip my paper around so that I can get to all the areas without putting my hand in with paints. Yeah, I want to get it painted before it drives on me. But I do not want any hard lines in here if I can avoid it. So here put a little bit more pink and because have so just a strong underneath Let's put it that you know in here, Shadow caller. You can't a little bit off that dark corner in here. Couple places drive down that couple places to just kind of say this. A little bit of undulation in the mountains. Yeah. Look at that. And see how that now go together. I love it. And what I can see. I had a little spot up here. There that was already on my paper. And so what I'm going to do is I'm gonna take a little detail brush here. Could also take my rigger brush, but I think a detail brush is a little bit safer. And I'm gonna dip into this mixture I have here off the dock on and I have some real duck over here. The puddle I had leftover gonna promote the pink in. So that's kind of know, Have a little Dr Ray here and get sure don't have too much pigment on my brush And that I have a nice, fine tip and then with up putting my hand in, hopefully I'm going to create a boot. It was one boot. One bird is never enough. You wanna have more than one food and so we gonna have some more boots coming. Yeah, kind of feel. I need to cut up, push in a little bit. So let's see what we could do here. Might take a little bit of that darker color here. 10 point with this coming. Come in here like that bit of pink and, uh, down here and dries on me right away. Got to go in with my credit card and scrape in action rocks. And then I'm gonna go in a bit more this darker color and just put a little bit of shadow behind some of the shapes I have here just to give them a little bit more character. I don't want to be too dramatic, but we'll stay out here in the corner, but no. And then maybe I will take this brush here and just why. Stippling it in and let's see And just, you know, put some little indications of maybe some glasses or something just to break it up a little bit. And down in the corner here? Yeah. Can you see? Not just a little bit of that. Doesn't have to be much have over here. It's going to do a little repeat of that it's just gonna be yet not the same shape. Course. Don't want to repeat exact shapes. Do you strike that in the dark? Don't ST Couple do some of those here that just so that there's a little darkness in the cornice there. And I still left a little opening. So you concocted into the picture, and then here is going to scrape out a few chicks like that, and then I'm gonna just let it be and quiet shunts it. It doesn't always have to have hold out of elements. Of course, I could put trees in all sorts of stuff, but I have such a lovely sky. I like what I got in that distant mountain ranges kind of little misty, but you could see the colors of shining through. And then we have those little Peter fashion, um, rocks and stuff in the foreground, and we're gonna colder today 11. Painting A Rainy Spring Landscape: so here. So our rainy landscape with the sky and the little light there and there. Let's finish that in a very simple manner. So I have some puddles here. They're so some of the indigo. I have some of the cobalt blue here's doted up into go. And I think I need to grab some more off my boot, Tiana and I'm going to grab a little bit off yellow. And, um, I'm gonna go with the transplant Yellow up here we have it, and and I think I need a little bit off my French ultra Marine blue. Let's just see what we can do here. We want to do just a quick landscape. We don't want to go crazy here, So I'm gonna go and just put some water on like that and gonna put some off the burnt Tiana on, and then I'm gonna check some off my French Autumn wind blew, so I get a kind of great and I'm gonna take some off my into go here, and I'm gonna create some trees there. Maybe there's another one there. I need to put in strong color in here and this Create some over here I don't want to cover up all the yellow nice glow. Why haven't sky here? So could be. And then I think I want to get a little bit off, Just some yellow in. Maybe it's spring has begun. And so we want to get a little bit of, like a bright, bright yellow slash right green in here and there. And we can also have a little bit of that yellow into some of the trees here. So they get a bit of that green tinge, Mr. Liven it up a little bit and see him just stabbing it in like that. So it has a little bit of play off green. Yeah. So off that French ultra Marine blue greens here. And I think just gonna get big, more yellow because I like that that life ended up a lot. And I am going to take my little duck puddle and just started and a little bit just to not have it so hard edged and put a little bit more that spring green in It would be fun to have a little bit more. Just playing yellow here and there and again. Just be the daddy and then make that dry a little bit. And I want to grab my liner brush and let's see what I can come up with here. So now I need a little bit of a thicker paint. It's gonna take some off my Sheena and take some of my French constantly improved their creative my switch Dark brown color brown, almost black. And then we're gonna put so trees you in the back. Yes. You know, want to have more, you know, not too always. An uneven number is better. So here's wanting to go shop kind of disappears down here. So Joe disappears down here, and then I want one more. Oh, here. And I'm dragging it up like this so that I get some of that skipping because I'd like it to turn into maybe an aspen tree or something like that. Heaven there? Yeah, And have this one, and I'm gonna They also have maybe some little Twix and stuff sticking up here and there, just to kinda and through the feel and a bit of a missed here so I can get some of these branches to kind of flow out a little bit. Lucien off. No, tweaks and stuff. So here we're going So that just one of this during the whole bit one busted out. So this is very intuitive. And before I forget, can I continue that I wanted to scrape out if I can hold on. It's already almost to dry like there. That's OK. And then over here story about a little bit of some rocks and stuff to make it a little bit more dramatic over here. I'm gonna just go in and put some shadow call on just stabbing in. Why so Damn, I could get a little bit of that in and then again here if you could get some little Twiki things up and I'm just putting a little bit of shadow in between some of these drop shapes . I think I can put you scrape out a little bit better years. No, not sure dry there. But can you see how you're beginning to get feel off that spring land escape and, uh, Twitty saying shop here? Very. I'm holding my my brush, um, almost perpendicular to my paper here. And I want to make sure that those branches are not to perfect. You know, I'm not a fan of perfection in landscapes and anything natural. You want to have a little bit of a random pattern going, and it's surprising how hard had had to use and wiggle them. Care for that one? Take it away. I'm just gonna go in here on this side off this tree and just put a little bit off her. Not shadow color on just dipping into. It's kind of muted blue. Same over here. Yeah. Good. And then the last thing we can do, he was just dab up some of this extra water. I don't want to do too much, and there is and it'll landscape. And it has spring atmosphere. And I think it would maybe be really, really nice if we take and just split a little bit again. I don't want to Over do it. Yeah, I'm gonna take my I took my just tap some of it. So they're not true. Prominent? Just a little bit, actually. Actually. Texture and atmosphere painting. I'm gonna call that then 12. Painting A Full Moon Evening Landscape: So here's how Night sky Oh, nice and dry. I like the cup confirmations I got there. Here's in my little boo boo where I broke my own rule trying to fix something when things are wet so you can see it's true But I'm telling you and I'm not gonna worry about it. Um, I'm gonna use my stencil here because I want to lift out of moon. And so I have to find the size I want. And I wanted to be a big moon and I'm going to put it there. I think that's a good spot. So the moon is called very That's a very prominent, you know, kind of like focal areas. We want to make sure you have it in one of those spots where the rule of thirds supply. So you know, not in the middle, not out on the edges or in the corners. So a little bit off the middle. And I like to use a little bit of masking tape to just hold it down and cover those sugar set up close to the one I want to lift up and you can see on purpose. I put it over the cloud a little because I would really, really like to have the cloud stick into Mr Moon and a little bit just for some extra, you know, depth and atmosphere. So I'm dipping Mr Clean, clean water and squeezing out all that extra water. And I'm even taking it over on my tower and making sure that it's just barely damp. And then I need to have clean tissue, understand? By and then I'm going to scrap out, and I'm gonna turn him around, calling him force. You know, Mr King, you see the advertisement just always a guy. So this guy with a crossed he's gold and he's crossing his biggest bulky forearms. Um, so then I cleaned out Mr Keene again, and you want to make sure that you don't scrub with a dirty sponge because then you're just going to scrub it back into where the paper, and that's not what we want. So I'm scrapping out here, and I'm leaving a little bit short. Could see where that cloud shape is. Dabbing it clean tissue, watch a little bit more. But it's, you know, I don't really want to stop all the way back to the white because it looks more natural. I find more atmospheric if you have a little bit of color still in the moon. It's kind of like to see those landscapes up there craters and what not? Can you see that? And can you see how the cloud is going in? A. And so once everything's dry, we got dark and that the course and that's gonna be back late to that piece of the cloud will look darker. So we're going to do that. And then if you had some shapes in your cloud, said you weren't quite pleased with you can use Mr Clean to lift out a little bit more if you needed to. I don't really want to do it here because I'm quite happy with my clouds. But there so you can see and be very gentle with this. And this is where you could actually also use the cotton pad, and you can lift out the moon with the cut paddocks. Well, I find this better with Mr Clean, but if you don't have it and you know nowadays doing this whole Corona outbreak, you might not be able to get to this door she'll get that. So then, you know, go to use what we have. Right? But look at that already. How? That gives a lot of atmosphere and, uh, gonna wait for that. And then in the meantime, I can go in here because remember, I said I was gonna have to come up with something to wear. Fix that boo boo I have there. So I'm gonna go in with some off the indigo. I'm gonna put a little bit off the pink in, changed the car a little bit, okay? And then I'm gonna go in and put a hillside down. This just like that? It's a human side. No, you can't see what I did there. And before it dries on me, I'm gonna go in with my trusted credit card, and I'm going to scrape up up some rocks. And there you have catching the moon, like you know, so that CEO could see a little bit more night on those rocks. That it's good enough then why that woman is still trying. I'm gonna go in, and I'm gonna take some more this and I'm having a little bit off the couple blue when it sorts of lighter blue. But it will still be fine for what I'm gonna do now. And I'm just gonna go in here bravely and I'm gonna go across like this. My paper around, she was straight there. We're a little bit more pigment on my brunch. I'm just using this big data brush. And then I'm gonna go in and create and then sheep here. That way. No. Created some water? No, just working on good mountain shapes here. Would be, like travel painted on top so much Not on my paintings. They always trying out to be tough for some reason there nice and straight. You think? Yeah, I like that. And to give it a little bit more character, I'm gonna take clean Kleenex, and I'm gonna twisted like this. And before things dry, I'm just gonna go down up, And then a clean side down, up and one more down. Can you see how I got a little tiny bit off texture now in those far away mountains? As if they are also catching a little bit of the moonlight? That's good. Yeah. So there's that and already it's a landscape. I think I could get away now with painting in. Do you know that now? And I'm just using a a little bit of the blue I have here and then I'm gonna go in and brings it out And your c h, yeah. Can you see how rule Now it's obscured by leaving that in front of it. It's already looking pretty darn good. I think I'm gonna go in with now my exactly knife and I'm gonna turn you on the side and the moon is there, And so so here I'm scraping out those reflections that the moon cast across the lake. You know, like a moon bridge with my exacto knife. So I'm really damaging the paper by doing this. So you don't want to do this type offer technique until you're done painting in that area, But it's quite effective, and I'm just doing a voiceover for you here because it really sounds awful. So when you were, if you had to listen to, it's like, you know, nails on a chalkboard or something. So I wanted to spare you that, um, in that area. But Casey, I don't sparkle on the water now from the moon. That's pretty cool. And of course. You know, if you don't want to do it like that, you could also use your unusual gel pen. Or you can use your white paint. But I think this is a really nice way of doing it. I just feel, you know, you gotta be a little conservative when you do this, because once you risk weighted out, can't wait to get rid of it. So and there I think I want a couple off trees, so I'm gonna make myself a really dark bluish green with indigo. And I had a little bit of bone china here that would make it more greenish, and then I would have a dark spot there. So how about we put a tree here? Yeah, and I turned it on the side, and I'm gonna use the back of my rush. And I'm just gonna go in and make and ever green here. Make sure you remember to cover up some of the truck. Don't have that truck show the whole way down that doesn't quite hand. Go down the trunk in this way. Make it a little fat here and just fixed sound of shapes. And it's nice if you can have it overlap you a little bit. Remember, it gets wider when it goes down. Maybe a couple of dead branches. You in there and also always on the lookout for tangent lines. That's is when something stops like a branch stops right where the mountain range in the back are meeting the water. So I want to break up any tension minds I might see. All right. And then I was gonna do a little tiny bit off some scribbles. This way. Here it is true. Okay, rid of that. And I think that it's a very, very nice atmospheric landscape. I could put more trees and I could do hold up, but I'm gonna leave it like this. I wanted to have this kind of lonely, uh, quiets peaceful feel. So there's our night landscape, the clouds and a room 13. Wrap Up Painting Skies In Watercolor: So that concludes our listen today on painting skies and watercolor. I hope you had fun. And I look forward to seeing your creations and your paintings on the project gallery page . Make sure posting there to share with the rest of us and my next class is going to be about painting cloud. So we're gonna concentrate more on the actual clouds, and I'm unsure from different methods of doing that. So you have that to look forward to and in the meantime, wishing your happy painting, Stay creative, stay positive and I'll see you soon.