Realistic Watercolor Landscape, an Irish Landscape by Emilie Taylor | Emilie Taylor | Skillshare

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Realistic Watercolor Landscape, an Irish Landscape by Emilie Taylor

teacher avatar Emilie Taylor, 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

8 Lessons (1h 20m)
    • 1. Intro

      0:50
    • 2. Part 1: Sky & Water

      10:37
    • 3. Part 2: Land Highlights & Water Texture

      13:08
    • 4. Part 3: Foreground & Background work

      9:55
    • 5. Part 4: Layering Detail

      13:03
    • 6. Part 5: Layering Details pt 2

      8:50
    • 7. Part 6: Darkening

      12:22
    • 8. Part 7: Final Touches

      11:11
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About This Class

Want to learn how to give your watercolor landscapes a realistic touch? Then this is a class for you!

I spent years working on my botanical and object paintings always avoiding landscapes. Once I decided to grow and learn how to make my style work for landscapes, my painting world was forever changed. Join me in this class and I'll teach you my tips and techniques to take your landscapes to the next level.

Cartoon Realism is the word I use to describe my style, I love having enough detail that the scene can feel real and almost transport you there, but retain the artsy bit that reminds you its a painting.

In this Class you'll learn:

- The art of layers in Landscapes like painting in highlights and slowly building the painting

- When to use different techniques like wet on wet and dry on dry

- How to get white puffy clouds, and more!

I would suggest this class for anyone how has already done a little bit of painting and is looking to learn a new skill

You can find me on Instagram here https://www.instagram.com/emilietaylorart

Head over to the project tab to get my sketch and the reference image.

Meet Your Teacher

Teacher Profile Image

Emilie Taylor

Watercolor Artist

Teacher

My name is Emilie Taylor, I'm a Watercolor Artist. I started painting in 2016. I developed my style that I call cartoon realism while painting botanicals, fruit, and other things. I avoiding landscapes not knowing my style could work for them too. I took some courses and found not only does my style work for landscapes but landscapes are my favorite thing to paint! 

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Transcripts

1. Intro: Hello and welcome to my first skill share class finding was Emily Taylor, and I'm a watercolor artist. Over time, I've experimented with different techniques to develop my style, a sort of cartoon realism. I avoided landscapes for a long time because I didn't know how to take that style and make it happen in a landscape. I've come a long ways now, and I thought I'd share what I've learned today. We're going to be painting this Irish Seascape Ireland this summer. I've always wanted to travel, so it seemed fitting my first skill share class. I've provided the source image and my sketch for your reference, Let's get started. 2. Part 1: Sky & Water: I'm starting this painting off today with the use of masking fluid because this image has a lot of white flowers. I want to preserve the white paper and not have to quash later. So breaking out my masking fluid and I'm going to be doing the flowers. I have an old brush that specifically designated for my masking fluid purposes. Starting this out. I'm just making kind of irregular shapes circles, but they can have a little bit of pedal formation, especially the close ones. This could be a tedious process, but to me it's worth it. Instead of having to paint over with wash, I get to peel away the masking fluid and reveal the white paper underneath. If you don't have any masking fluid, feel free to skip this part entirely and later. You can either paint in with white wash or make the flowers a darker color so they'll pop on the green. I'm going to speed this up as it takes a while to paint all these flowers. But keep in mind as you're working that your front flowers should be bigger and more shapely, and your back flowers can be smaller and more like tiny dots, it will help create the illusion of distance. Yeah, paying attention to the source image. I'm checking for clumps of flowers where they're bigger, where they're smaller, all the details that you need to look at your source image for zooming in for a second. Here, you can see what the shapes were looking like. Doesn't have to be perfect. That's part of what makes it art. You know, at this point I've cleaned out my masking fluid brush, and I'm ready to start painting this guy so I'll grab a clean brush and makes up my blue. My blue is from a set of Matthew Palmer watercolors. He is a set of landscape colors that are specifically designed for landscapes. I absolutely love the blue. It's a perfect sky blue for me, so I'll start to what My sky. I'm just using a big brush and getting the top portion wet. I'm painting on cold press today, so it takes just a little bit more to soak up my skies air. The one thing in my paintings that I always paint, what on what you'll notice later. We'll do techniques of what on dry and even dry on dry grabbing my blue, I'll just start going at the top. You'll see that I go in horizontal lines back and forth. This is so when it dries. Any bit of lines you see are creating natural depth of field. I also have points where you'll notice a little bit of haziness, and this is purposely done to help create depth as well, speeding this up here because we're not mixing any colors just painting the blue sky. Keep in mind that the top of it should be a little darker in the bottom lighter. Now that I'm happy with the color washing out my brush quick and I'm going to block in the cloud with a clean paper towel, I just pinch the corner of it and start to make a cloud formation bigger parts and smaller trying to keep that bottom a little straighter. You'll see when my hand finally moves Cloud definition. This technique can take a little bit of time. You want to make sure your paper is still what, enough, but not soaking. What? Maybe try a practice If you've never done this before. On another piece of paper, the clouds can come in all shapes and sizes, so don't worry. If they don't look just like mine, you'll notice. As I keep going, the bigger clouds are up towards the top, and I create smaller clouds towards the bottom in the horizon line. This also helps with the depth. You can feel that the background gets farther away. There's really no right or wrong way of doing this, so just have fun. I ended up going back over a couple of my clouds with a weather part of the paper towel because they just looked too sharp to me. But you can have them, however sharp or loose, as you would like. I'm getting to a point with, um, that I'm almost happy, but it's always okay. Toe. Keep rubbing at them to get them. However you want them to look. If your paper has gone completely dry, you are able to what it again so that you can pull off paint, make sure that your papers completely dry before you do this. Otherwise you'll end up with weird hard lines that can happen, and we're trying to keep this guy soft and realistic. Now that I'm finished with my sky well, let it dry off and I'll see you in the next part. Welcome back and let's jump right in. We're going to start working on the water, going to use the blue that I already have and a little bit of natural grey attitude to give it a darker color. I'm going to apply this. What on dry. So I'm leaving the paper dry underneath and using a very wet and watery paint to go over the top. You'll notice I'm trying to keep that top horizon line very straight. You'll notice as my colors going on that it isn't true blue. The gray is really helping it. Give it that darker more. I wish ocean look. This layer is mostly just to get the base coat. Don't worry about making it too dark, because I'm painting with a very watery layer. I don't have to worry about the edges so much, but I am keeping in mind where the land meets the water and trying tow. Watch those lines. All the while I'm painting this. I just want to make sure my main layer is still what this keeps me from getting any hard lines. I paint right over the rocks here because I'm painting with a light enough color, and I know the rock color that's going to be going on them is going to be plenty dark getting down to the bottom here. I'm just being aware of where my Hill line is going to meet. I don't want to go to dark down here because the light green that's going to go over the top, we needed to show up. Still, we're gonna finish the water here and start working on the land in the next video. 3. Part 2: Land Highlights & Water Texture: welcome back to Part two of my Irish Seascape. As we leave our water to dry, I think it's safe to start mixing up our landscape colors to paint the background. Hilly cliffs, the colors I'm mixing up. Here are a dark natural brown, a light natural orange and two greens, a dark one and a light. Just a quick note. Here. I switched my size eight brush again. It's a brush. I use a lot for landscapes. I mix my two greens together before I start painting, starting off the very top. I'm a little darker, and I sold the add water to go over very lightly, just getting the ground that I know is going to be green. This color, once again, is mostly just the base underneath highlight color. Throughout my paintings, you'll see that I start everything very light and slowly adding more and more shadows to know how dark and how light. I want things, not adding any more paint, just water. I'm touching up all these lines so that it stays nice and soft. That pause here is I'm studying the reference image. I'm wanting to make sure I'm getting all the green highlights put down for this background spot? Uh huh. One of the things that I thought was really cool about the source image is a subtle hints of orange or rust that you noticed both in the background and the foreground. So I'm just adding a bit of this light orange. I'm doing it very subtly and dots and very lightly. If you notice your oranges going on very dark, just add extra water to it and make sure it's going on light. You don't want this to be taking over the image. - Now I'm mixing together my dark brown and my natural grey. I used this color often when I'm doing rocks in cliffs once again the color and working with this very watery. This is just to create the highlight and for me to know where exactly these lines are. Okay, here again, I'm just getting my brush wet with water and filling it in so that the colors air staying soft, and I'm not getting hard edges working carefully here. I want to make sure that there's distinction between the grass hill that's coming down and the rocks behind it. - Here , you'll notice me doing the lines kind of scraggly, and it's just to help create the look of cliffs and the downward slope you'll see as it comes together that these air the hard lines that we do want. I'm intentionally not painting the rocks great yet because I still going to be going over the water with a full water wash, and I know that it would make colors run together and bleed, so I'm leaving it until I've done more to the water. Here's where I'm going to be working more on the water. I'm going to be using a technique of dry on dry, so I'm taking the paint in the thicker concentrate more cream than watery. And then I'm brushing it off on a paper towel so it's mostly a dry brush. You'll notice as your paint brush strokes down. You barely have any paint. It's a lot better to have none than too much practices on another piece of paper. If you're not familiar with Dr Rushing, this technique can take a lot of practice in time. I've been working at it for a long time and even still sometimes can start to light because I'd rather be to light than too dark. I add a little more natural gray because I want this to be a bit darker. All the while I'm keeping these lines very horizontal, back and forth. This is going to give us the look of natural waves and natural water. If your image, like mine, is starting to look like you're waves are looking dark. Don't be afraid. We're going to be washing down the whole layer, which will smooth everything out as I get to the bottom. With this dark color, I'm going a little more subtle, you know. Now I'm mixing up a couple of other blues that aren't a part of Matthew Palmer's that I have a very teal blue and a light aqua blue. - I'm continuing this dry brushing technique, keeping the light blues a little more towards the bottom, but running all the way up through to give full color definition. The last blue I'm adding is just the natural sky blue. Once again, this I'm also dry brushing but letting it go in a little thicker maybe in some parts, because this blue is the most natural. I'm running it all the way through the ocean. You can see that I'm just filling in any bit of detail that I feel it needs a little more switching to a bigger brush my size 16 to do the glazing. Now here's the part I promised the blending of it all together. We're going to do a sort of glazing. So I'm just taking a big, clean brush with water, and I'm going to start stroking it all the way across the top and all the way through, making sure I get all the water and not relieve any hard lines behind. Once a part is wet, you can sort of give it a little extra rob if you notice lines that are still too dark. So that is how I smooth the water. You noticed that there still lines and color definition, but it's smoothed out and we're going to be going over it again one more time. A little later, when we know how dark we want to take things, enjoy your glazing and I'll see you in the next video 4. Part 3: Foreground & Background work: Welcome back. We're jumping right in here by wedding up all the foreground. Just trying to be a little careful here on the edges, so I don't get water where I don't want it. I've already got a mixture going here. It's my dark green in my light green mixed together. I'm just going to get a nice and watery go ahead and just apply this all over the whole foreground. Careful of the edges, but otherwise you can just slap it on. I'm just looking for a pretty nice, even like green highlight that's going to be underneath now. I'm taking my Matthew Palmer tree brushes. Thes air, basically bristle brush that kind of spreads out. If you don't have something like it, just get your brush kind of nice and dry. Even a scraggly old brushwood work good. I'm taking a mixture of my dark green, and I'm just kind of dry brushing over the paper that's there, but it's already what if you're like green has dried off, just re what it and then start this process. You'll notice it's going on nice and soft, and that's because the light green underneath is what I'm just creating shapes here of what I feel like is the natural brush of the weeds, like in painting the flowers. I'm doing the front ones a little bigger and the back ones a little smaller, Leaving light highlights. Highlights spots in between, and this is helping create the definition and define difference between the two. I just keep adding paint, and it's continuing to be more of a dry brush technique, as the underneath layer is trying to. Okay, I'm happy with the effects that it's giving, and I'm going toe wash, clean my brush. Good. Taking a small brush, I'm back to mixing up my rock colors. So this is a natural brown and a natural grey. I'm just trying to get it nice and dark, but keeping a watery consistency, going to start painting in the little rocks that are in the ocean here so that I can know where they are for future reference. If your pencil sketch was to light and you can see the rocks anymore, just kind of have fun with it and paint them where you feel like they need to be. The most important part to me is making sure the rocks are flat on the very bottom, so it gives the effect that they're in the water. Once again, I'm going to be working in layers. So this is going to be just a solid, like gray layer that's building the shape of the rock, but not necessarily the definition and things that will make it really popped later, speeding up a bit here because you can only watch someone paint rocks for so long heading back into the cliffs here, I'm just going to start to finding the crags and things that will show the definition of the cliffs. So I'm just taking me like, kind of gray and working out some of those lines. Once again, I work in layers, so this will start pretty light. And as we add more darkness to the image all dark in these as well, I'm kind of working with a drier paintbrush here and just lightly pressing down and kind of seeing what the paintbrush creates Reliance itself. This is how I get a lot of my rock textures, and I'm quite happy with it, a little bit of a slow going, but all painting requires a lot of patients. All right, some of the lines coming down. I know what I'm looking for. And some I just what the paint do what it wants. I'm looking back at my reference photo, but I'm also looking at what I have already and what these cliffs they're looking for on their own as a painting. - Some of the main things I'm looking for here are the difference between the cliffs and showing that that it's going back, creating that depth of field again. So just kind of paying attention to this part's the front cliff in this parts, the back lift that's gonna really help you and your painting. So even though I know we're going to be coming back to these cliffs, I've decided to move past him for a bit. Well, I'm not quite sure how dark I want to take them. We'll finish up for this video and I'll see you next 5. Part 4: Layering Detail: jumping right back in going back to the rocks here, I'm adding in some brown and the natural, great but more brown. This is going to be giving them a little bit of different color in different places. I'm just kind of blotting it on, not necessarily covering the whole rock but leaving bits that showed the old gray to give that old highlight. Now that I've darkened my rocks a little bit, I'm ready to start painting in some of this grass because I have the feeling of what some of maybe the darkest point of the painting is going to be now. It's all part of a technique that I learned from a painter named Anna Mason. She paints her highlights than her darkest point and then starts to fill in going back and forth, sometimes darkening and going back to those mids. It really is a process, but it gives you a lot happier of a painting results in the end. So back to my greens, I've still got a mix of the light and dark, but I believe I've got a little more dark going on than the light just starting right up on the top of this hill here, making sure that my brushes straight towards the top so that I'm getting a crisp line there and just kind of filling in. You didn't see me thinking about what I want to do to make this transition. I decided to just wet my brush, and I'm pulling down the greens with just a wet, watery brush mixing up the dark green. Here. It's just a watery mixture of it, and I'm able to just go over what I've just kind of water down, just adding hints of it here and there. My brushes just very lightly touching down on the paper in place is kind of abstract Lee through to help create that grass texture. Once again, this may look a little bizarre, but we're going to be adding some glazing and smoothing a little further on, and I'm trying. Teoh still let the orange stand out, but I'm also kind of going over it. The orange is meant to be a more of a hint than rather sticking. Malcolm. Yeah, all right. So coming down this for until this hill is a bit of a challenge to capture the right perspective of it. So coming down. I'm just letting the brush strokes fall in the way that are more straight down, a little bit angled. That's going to help me in the long run to make it look like it's coming towards the person that's standing on the hill. No, still kind of using that dry brush technique, and you can see it showing up a lot here with the cold press paper, adding a little more that to the top of the hill, just that nice, dark, dry brush and then bring it down to from the grass color everywhere. The frontal was starting to bother me here, so I decided to do the glazing a little earlier than I planned. Just wet the brush and got the clean water, and I'm just smoothing it to see if I can make this hill look a little more uniform. Once I've got the Hills moved, I could tell the background definitely is standing out too much, So I'm just using the glaze here and just smoothing it in the strokes that are downward and towards the direction of the hills. You can see the orange has really blended in, and even though some people might have liked how much it was popping. I like the way that is showing up underneath the greens and creating that may be dead grass far off Look that I see in this image. So now that I am really happy with the orange in the background, I wanted to add some to the foreground, got my Matthew Palmer tree brush again. And I'm working with just a light orange That's nice and watery, adding just a little, too that back Hill and then back to the foreground here. Now, I didn't want this orange to cover all those highlights spots coming through, but I am putting it in quite a bit of them, just to kind of give different color depth that will notice in the image later finishing off with that, and I'm grabbing some of my brown mixture, and I'm gonna work on some of the rocks that are kind of right on this foreground hill. Now I already have my grass kind of going to the end of this hill, but I want the rocks to just help create the illusion that this is all one big cliff that's looking over it as well. So I'm keeping the outer edge nice and crisp and then kind of just stippling in bits of color to give that rocky texture. With that dry brush brown, I've decided to go back into the cliffs because I know they're definitely not dark enough, you know, just kind of lightly brushing in over it all. It's cream lines, but also coloring all right and down to the base of these main cliffs. I definitely don't have a dark enough to be coming out of the water, so I'm just darkening those ends right here and back onto the cliffs for more defining. Getting onto this front cliff here, you can tell that even though the hill is grass covered, that there is a rocky bit of texture in that maybe eventually where this front clip is covering that it would have faded into rocks. So I'm just bringing that brown up through giving that maybe dirt rocky texture in those crinkly lines, definitely going very light in places, as I'm not sure how dark I want to take this or how noticeable I want it to be here. This back left just definitely needed more definition to show how the Hill was coming down where the grass lane starts and what not. So you'll see that I'm going to be just pulling those lines up farther on the top hill. I find this part very relaxing, just kind of letting my piece take over and kind of show me how the cliff should be versus me, trying to force it to look exactly like the image way. Just getting a really nice dark color here. As I'm working on that farthest cliff going in and just getting that defining top layer painted in and then back to those middle classes, I'm just constantly adding new lines and more darkness. Just steps. - Just keep mixing in that dark, um, dark brown and natural gray. And I'm just adding to this front cliff here, really needing to define that here, I'm deciding it would help to just have a bit of rocks. It's that it creates the kind of the difference between that Back hill on this from one. It might really stand out right now, but once we start pulling in the actual weeds and tall grass that are going to be in this foreground, it will help blend it there. Remember to have some fun with it, and I'll see you in the next video 6. Part 5: Layering Details pt 2: so moving on to those weeds, going to get my nice dark green and just mix in a little bit of the light green and use my palmer tree brush in. This works really well for kind of creating those tall weeds. My pain consistency is kind of a cream feel, and I'm once again kind of wiping a bit off. So my brushes a bit drier, just working in stroke motions. You could probably do this with a fan brush if you don't have any kind of old, scraggly brush. And because the color and working with his dark I'm focusing mostly on those dark spots that we put in earlier. The back weeds are making really small and short, and then I'm getting to the foreground, just pulling down and making them longer and bigger. You'll see how much more real this is starting to look as we're adding this in. And if you're like me, you're getting excited to pull off that masking fluid so that the flowers will truly look true. White a za brushes getting lost paint. I'm filling in some of those highlight areas just toe kind of create more weeds all the way through, but I didn't want them to be super dark. So this whole process here is kind of fun and can be addictive. So just adding in darker and just creating that more definition. You can take this however darker light or as detailed as you want to take it. I personally like layers, and I think it adds more to the painting. So I've got the 1st 1 down and I'm going right back over with a nice dark color and creating that next layer that really just will add to the depth. In the end, it's hard to know exactly when to stop at this point, and you can just take it where you want to take it. - Now that I'm happy with that, I have noticed that frontal is very dark and more like the image, and my back hills are not dark enough. So this is what I expected. But I wanted to wait to make sure. So we're just going to go right back into that back layer and will be layering just stippling that brush around, adding in nice dark spots in kind of a gnu nif Orme ways so that it discreet is different textures and different distinct lines. When I'm working really dark like this and really onion a form, I always know that I can come back over with the glaze toe, help blend everything later. So instead of fully glazing, I'm just kind of rubbing with a damp brush. These areas that I had just done well, they're still kind of what, And that's just helping me do the blending without a full glaze, sort of spilling in this back a lot more, Getting really happy with the way the darkness is looking in the texture se Teoh these next to hill spots where there's grass and then the sink in spot, that we're just bringing a little more grass into way. Just continuing that same technique that we've been doing a little bit of Dr Brushing just filling in that front hill and just giving it a full green effect, Um, - and then just defining the top of this hill with a really nice dark green dry brush technique. So we'll stop working on the hill for this rest of this video, and you can just get to this point and I'll see in the next one. Oh, 7. Part 6: Darkening: All right. So right back to it. I'm going to be mixing up some of my blue and we're going to be painting in the ocean for the last time, just getting the extra detail on waves that we kind of blended in earlier, we're gonna pull back out and make a more defined. So starting back in just with the dry brushing technique, I worked a little off, and I'm just first starting going under these rocks. I want to give it a kind of ripple, right straight of the rock that's gonna help give these rocks the illusion that there really in the water. But we're also going to be discreet. Ing waves all the way through out again. Just doing that light, dry brushing, just swiping it down and just light hand touches getting that back just nice and filled out to show those ripples and far off waves. Here, I've got a line that's just a bit too thick, and I'm just lightly brushing over it because my brushes dry. I can kind of blend it right where it's at, back down on the rocks here. Just getting those street across lines, making sure you're always brushing in a horizontal motion with the paper. I still am going extremely light, and that is okay. We just want this to be nice and subtle. - I decided to mix in a little more of my natural grey with my blue here, and I'm going to be going just right under the rocks because I wanted it darker. That line that shows where they into the water, pulling some blue straight out from the cliffs here just to kind of give up the idea of reflection. Just keeping that horizontal as well, I think, And back on this rise in line just want to give it a definitive that it could start Go out there and that's going to help create the depth. Oh, and I'm just going to keep continuing downward here because I'm getting the right look that I'm going for. Sometimes I get a little more aggressive with it, and that's because I know my brush is dry enough and doesn't have a lot of paint on it. And so you can get a little more aggressive to pull out what you do have. All right, finishing up that water here, we're going to be pretty much done with the actual blue in the water, and we're going to start focusing on those rocks again and darkening them and giving them more shape. So just grabbing a new bit of mixture. It's going to be my natural grey in my brown, but just a little more thicker and darker. Not this watery of a consistency. Just come right in and to find that bottom and start to build shapes that you would see on Iraq. Um, so maybe part of its dark right here and you're leaving this bit of highlight here, just things that give it that formation, and this is all going to be adding to it and making it more real. Some of this I'm doing just kind of arbitrary. It's far away, and it doesn't necessarily have to be perfect. It's just we're just giving it character. So I found this little black dot in the water here. That's actually a piece of my mascara that stuck to the painting. And I'm just gonna add a rock in here and cover it up. Like I said before, it's kind of arbitrary, and I have no rule book that I'm following here. I'm just trying toe give these rocks, um, life and, um, real definition. Just adding a little speed up here as I'm doing the same thing for all the rocks. As I'm working down here, I just see that these cliffs needs some serious definition, and I'm just gonna travel up them and add, um, the dark lines that show the difference between each clip here and just start working in them a little more, just following these lines right to the bottom. I want them to really be popping out of the water here. Uh, and you can see how much darker my paint is that I'm adding over the top, and that's just necessary. Now, toe, really Give the distinction between them your rocks. Maybe more to find. At this point in, you can kind of skip along. But if you're painting a little lighter and building in layers like I am, then this is a good point to finally take things too. Um, darker lines some of these down here. You can imagine that. It kind of cracks in words and we're building that cavernous part of it. Just speeding up a little again here. No, just taking that line a little farther up into the hill, showing where this crack really starts. Once again, kind of scrubbing my brushes. It's running out of paint, just given it a little bit of a dry brush technique and mixing up a little more of the color, keeping it nice and dark and thick consistency. We'll just keep continuing along and painting in these lines that just go wherever you feel like you need them coming into the front part of this cliff again. I know that I want more darker bits, so I'm just going to be kind of adding them in at random, showing that it is a rock service underneath. And the grass is kind of grown over and is maybe mossy just right down the hill. Cliff there just always kind of wiping off that little extra bit on my towel, and that's helping me control the amount of paint that's going down and thinking about what to do next. Just wanna touch up the bottom of those rocks again, so heading back into the ocean and just drying those straight horizontal lines right and meet them. And then I can just see the couple spots on the cliff that I know. I want to make the lines a little more to find and just scrubbing in some of that, um, brownish grey right into the grass, more in the upper part of the hill. Uh, and I think that's all we're going to do on the back hill right now, and we're gonna focus back on the foreground and just defining a little more of the tall grass. 8. Part 7: Final Touches: Welcome back to the last part. Let's get this painting finished describing my medium tree brush and I'm gonna be mixing up some dark green. So I'm going to use the dark green, and I'm gonna add some of my natural grade to it to give it just even darker hue. So I want this mixture to be kind of that can creamy still. And I'm just getting it on the brush, maybe wiping a little off. So I know it's not gonna be too watery and just kind of going in and doing some defining grasp leads. I'm focusing again on the spots that I already have darker and just adding to them. I'll come back for the highlights and a little bit. - So now I'm just adding my light green to the mixture and going for those highlights now and just get those to finding grass blades and just fully darkening the image a bit more, but also adding bit more of that break color. And it's just filling up this area. So I've decided to use my tree brush just to scrub in a little texture on the back hill area. So in the green, I'm just adding in a little bit, mixing into my grey brown mixture. Again, I'm just adding extra brown, and I'm just going into these cliffs and really adding darkness towards the bottom. They just weren't looking dark enough or really just correct yet, So you can see it's a lot of pain going on, and it's just really adding, to give the feel that we were looking for all along kind of added the color all around, but just especially to the bottom there, - and scrubbing into that hill just a bit more with the brown in Walla. I think that's it for those, Uh, so, unfortunately, my video had some technical issues and, um skipped out on the part where I was removing the masking fluid from these flowers. I did just scrub it off with my fingers. You just give it a good rub and it kind of all comes off. And then I started adding, um, yellowish orange to the center of the flowers, and I will be continuing working on that from this video, I have a really thin linear brush. I believe it's 0/10 or something like that, and I'm just drawing little tiny orange yellow dots in the center of these flowers to give them a little bit of realistic life. So I'm just mixing up my natural grey and with a very, very watery amount, I'm going to take that linear brush and kind of start to draw lines and shadows on these flowers. This is taking it, um, kind of to the next level. And if you feel happy with yours, you don't have to do this process, But, um, assumed in as I can get with my camera here. This is just kind of adding just all that extra detail that's going to give it, um, beauty toe Look at So some of it's just done kind of in an X formacion to maybe look like pedals in some of it just on one side for shadow, just giving it extra effects. - So the last thing we're gonna do with this painting is just give some of these flowers some stems, so they're not all just popping out of nowhere. Um, just mixing up my very dark green. It's got a little bit of the natural grey, but mostly dark green and just using this really tiny brush and just drawing stem straight down from some of them, especially the close ones or big ones. My paint is just running a bit too thin here, so I'm grabbing some more of my dark green, uh, having it straight out of the tube. It's pretty, Um, what consistency. So when I add extra water, I've got an extra wet and I just want to make sure I wipe enough of that off, so I'm not getting too much wet paint down. So this last bit of the process is just kind of fun, adding in anything else that is needed. But you can be done with yours whenever you think it's ready. - I have completed my painting here. If you're not done yet, just go ahead and pause the video and you can finish yours. But I hope that this class was fun for you and that you were able to take home some new techniques that you'll be able to use in your landscapes and maybe come back for another class. Thank you again for joining me, and we'll see you next time