Simple Watercolor Landscape Painting for Beginners | Kirsty Partridge Art | Skillshare

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Simple Watercolor Landscape Painting for Beginners

teacher avatar Kirsty Partridge Art, Traditional Artist, Entrepreneur

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 (40m)
    • 1. Introduction to Watercolor Landscape for Beginners Class

      1:38
    • 2. Getting Started- Materials & Colors

      7:00
    • 3. Creating the sketch outline

      2:43
    • 4. Painting the sky

      7:17
    • 5. Painting the road/ pathway

      4:33
    • 6. Painting the field

      8:46
    • 7. Adding details to the field & road

      3:43
    • 8. Painting trees- finishing the painting

      4:33
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About This Class

In this class, I will teach you how to paint a simple landscape using watercolors. This class is perfect for beginners but can be completed by all skill levels. We will be painting a beautiful green field, with a vibrant sky and dirt road. I will be demonstrating some important watercolor techniques in this class, such as the wet on wet watercolor painting technique, which is a vital watercolor technique for all artists to know.

Class Outline

Lesson 1: Getting started- materials and colors. In this lesson, I will show and explain all of the supplies I will be using for the class, as well as swatch the different watercolors I will be painting with. 

Lesson 2: Creating the sketch outline. We will create a basic pencil sketch to indicate the shape of the field and the perspective of the road. The sketch outline is also available as a downloadable reference

Lesson 3: Painting the sky. In this lesson, we will start painting the landscape. We will paint in the sky in this lesson, using the wet on wet technique. I will explain what the wet on wet technique is and the advantage of utilizing it in your watercolor paintings. We will paint a beautiful vibrant sky using shades of yellow, orange, blue and purple.

Lesson 4: Painting the road. I will demonstrate how you can use water to dilute your watercolors and get varied values in your work, by applying light washes of color and building up darker shadows and details.

Lesson 5: Painting the field. I will teach you how you can use masking fluid to preserve lighter details (like the grass) whilst freely being able to paint in darker colors around them. In this lesson, we will paint in a base wash of color to the field.

Lesson 6: Adding details to the field/ road. We will build on the previous washes of watercolor that we have already added to the field and road. I will show you how you can use the wet-on-dry method to add details to your landscape.

Lesson 7: Painting trees and finishing the landscape. In the final lesson of this class, I will demonstrate how to paint trees in the distance of your landscape paintings. I will also use a light green colored pencil to add a few finishing touches to the painting.

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Meet Your Teacher

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Kirsty Partridge Art

Traditional Artist, Entrepreneur

Teacher

 

 

Hey everyone! I'm Kirsty Partridge, a traditional artist who has been teaching art online for 5 years now. I am most known for sharing my drawing and painting techniques on my YouTube channel, which has amassed over 800k subscribers. As well as YouTube I create real-time tutorials on my Patreon page, where I have produced a library of over 300 tutorials. The best place to find all of the educational art content I have to offer is on my website.

I have been a full-time artist for over 3 years now and in that time have learned a lot about how to run a successful online business. The business side of being an artist is a big passion of mine and I also plan to use skillshare as a place to share my skills on how to build a successful career online.<... See full profile

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Transcripts

1. Introduction to Watercolor Landscape for Beginners Class: Hello, everybody. My name is Kirstie on Welcome to this class on painting a simple landscape using watercolors. Now this class is aimed at beginners. There are starting out using watercolors on Dhere. You can see the final landscape. There will be working on in this class. As you can see, it's a very simple landscape, and so it's not intimidating to have a go at if you are a beginner. So for this class, I will start off by going through all of the materials and supplies that you'll need for the class. There won't be too many on. I'll also go through all of the different colors that I'll be using for the class for each stage. Each lesson. I'll go through the colors that I'll be using so that you can get everything ready before you start the painting process. And then off course, I will take you through the painting process step by step so that you can create this landscape yourself. I will first go through how to do the sketch outline, and then I'll take you through how to paint the sky using the wet. In what technique on also how to paint the field and the pathway and all of that, as well as how to include details and details into landscapes like the grass Anson detail to the pavement on trees. I'll also be teaching. Your lots are really cool techniques like the wet in wet method and how Cheese Maskin fluid . To really add that extra call effect to your paintings and make them look really interesting. So ahead. See in this class Onda, let's get started. 2. Getting Started- Materials & Colors: in this lesson, I'm going to go through all of the materials and supplies that will be using for this class as well as the different colors that I'll be using when painting the landscape. So let's start off with the watercolors themselves. I'll be using a pan set of watercolors such just water colors that come in a pan, but you can use Ward's colors from a tube. If you prefer. It really doesn't matter. Just use whatever you have. I'm using the common watercolors by Windsor and Newton, and these are a student grade water close set. So you really don't need anything super expensive or any really complicated colors. The colors that I'll be using for this painting are very generic and will come in pretty much any watercolor set that you get. So don't worry about getting the perfect set of watercolors. Just get whatever's in your budget is a massive student grave paint, and it will be fine for this project. Like I said, I'm using the common watercolors by Windsor and Newton. Four paper. I'll be using cold pressed paper by Fabbiano Artistic O on this Is there £140 in weight watercolor paper. Now, when it comes toward colors, I do recommend getting a paper that is designed for use rewards colors as we are obviously going to be using a lot of water. And if you was to get a very cheap paper or paper that's not meant to be used, rewards colors than it were warped and buckled and make those horrible waves, and it just won't take the water very wild. Andi in my even damage and ripped the paper, so definitely recommend investing in a paper that is designed for watercolors. And personally, I like working on cold pressed paper. Now the next thing that I will have is paintbrushes on. I've got four different size paintbrushes here, and I am using the's silver black valve. It paintbrushes, but you can use any water color paint brush set that you have. It could be synthetic natural, whatever you have on hand, and I just recommend having a few different sizes of brushes a smaller one so you can get in some little details, and then some medium size ones were just blocking in large areas of what color, And then you can see that I've got this really in large paint? Brush on. I just used that for the wet in wet method. When applying water to the large surface off the paper. Now this next supply is optional. It's OK if you don't have it. This is a masking fluid pen. A masking fluid is great for preserving areas that you want to keep white or, if you want to do a dark area but have lighter details over the top, like grass is great for that as well. It comes in a pen, or you can get it in bottles and apply it with a paintbrush. I will be using the panel for this class. Andi, I'll be using the Moloch tal masking fluid pen. But again, this is optional. If you don't have this, then you can just simply miss out this step. When I come to do it in the class, the next supply is very standard. You'll need a jar of water, but one tip that I have for you guys is why not? Try using two jars of water instead? That's what I tend to do. I used to drawers of water. I get rid of most the watercolor in the first job when cleaning off my brush. And there I just give it a little rents in the second job of water and you see that the second jar of water stays really clean, so you don't have to keep making lots of trips to the sink to refill your jobs off water when you use two jars instead of one Now for the sketch, you just need a normal pencil. I'm using a mechanical pencil, but any standard Hey HB graphite pencil will be fine for the sketch. On another supply that I'll be using is a needed a razor on. This will just be toe. Lighten up the sketch before doing the painting process just so that the sketch isn't really dark, but any a razor that you have will do. Or you could just do a very light sketch. I just did mine a bit darker is that stands out on camera now. If you want to create a nice border or tape your paper down to the desk, then I recommend using a tape like a washi tape or I'm using the Scotch magic tape. I like this because it's transparent and finally this is another optional supply RB using a light green color pencil just at the end to add in a few details. But this is definitely optional. If you want to keep it, just awards color. I won't be using this very much at all. So now let's go fruit, the colors that I'll be using for this painting. I've done them into categories for which area of the painting I'll be using those colors on . So, firstly, let's go through the colors that will be used in when I paint the sky. In the reference, you can see that the sky has got hints of yellow. Nice warm oranges on also blue tones. So I'll just be using four colors for the sky. A nice yellow, a bright orange on also a blue, and the purple, which are mixing with the blue to get that perfect blue purport tone. Now you don't have to have the exact shade names that I will be using. I'll let you know what they are, but you can just use whatever you have. A light yellow, an orange, a blue and a purple, no matter which shaded is, will work fine for this, so don't get too bogged down with having to have the exact colors that I'm using. So the colors that I'm using are the cadmium yellow, pale Hugh. So of every light yellow, the cadmium red pale Hugh, the ultra marine Onda move. So those are the four colors that I'll be using for the sky. Now for the road pathway in the middle of the field, I'll be using the's three colors. I'll be using the yellow Okha, which is this nice golden yellow tone. It's a bit more golden than the first yellow that will be using for the sky. Any yellow will work for this as well. Then I got this red tone shade, which is the Indian red, and then a nice brown tone, which is burnt umber. Now moving on to the field on the trees and the any areas that I'm painting green, I'll be using three colors. The yellow is the same as the top one that we use for the sky, so the cadmium, pale yellow hue, the green that will be using is the Verdean Hugh on. Finally, that really dark brown tone is sepia, so it's nearly black is a really dark Brown is more natural than using black, and those are the only colors that will be using for this landscape. As you can see, it's quite a small list of colors, and those are all of the surprise that I'll be using for this class as well. So without further ado, let's get started. 3. Creating the sketch outline: in this lesson, we're going toe work on creating the basic sketch outline for our landscape painting. He can see the final sketch that will be creating It's not too complicated, really is just a nice, inclined hill on the curve pathway in the middle. So I start off by marking in just some guidelines. So I do a line on the left hand side that is just a bit lower than halfway up my drawing paper. And then on the other side, I do another line that's just slightly higher than that, because if you look at the reference on the right hand side, Theme Hill sort of inclines, it starts a bit lower on the left hand side and then gradually goes up to form a hill. More tours the right hand side off the drawing, so I make sure to do a nice, gradual curve to incline the height of that hill as you go further towards the right. The size of the paper that I'm using for this project is nine by six inches, but you can use whatever size paper you want, but obviously you'll want to make sure that it's in a land scrape orientation. OK, now let's get started on the pathway and you can see there is no in the centre off the paper. The pathway. It's more skewed towards the left hand side on the way that I'm drawing it in is a very elongated s sort of shape of backwards s shape. So it has that curve right at the top. And then it's really just a very curved, gradual line that goes towards the right as the road gets bigger as it's more in the forefront when it's more in the forefront is wider and that it's really, really narrow as it's off in the distance. One thing that you want to avoid is making your lines to straight. Let them have a nice natural curvature to them, so that it makes the drawing look more interesting and less stiff. I'm also doing some initial sketch outlines just to mark the shadow that's being cast by the grass because the grass is very tool and it creates that sort of height either side off the road. So I'm just marking in loosely where that is. But really all you need is the field on the pathway on. If you want to just use my sketch as guidance and copy it, or even trace it onto your paper before you get started. Then you can do. But that is always doing for the sketch. And now let's get straight into the painting process. 4. Painting the sky: in this lesson, we're going to start working on our landscape painting on. We're going to focus on painting in this guy here you can see what the finished sky is going to look like and its got some beautiful shades of yellow, orange and blue. In it on will be using the wet on wet technique just to recap the colors that will be using for this particular lesson is the cadmium yellow pale Hugh the red pale Hugh the cadmium Red pale Hugh Ultra Marine Andi move. But again, a light yellow, orange, blue and purple wool footwork. Fine for this. You don't need to have these exact Cutler's. Now I'm just starting off by taking my needed a razor. And I'm just gonna use that to lighten up the sketch because we don't want any of those grey graphite lines showing through our watercolor work. Now I'm doing this because I made my sketch quite dark for the purpose of it being picked up nicely on camera. But you might have already done draw sketch nice and lightly, and you can skip this step. I'm simply going to start off by mixing up these colors on like I said, I'll be using the wet in wet technique to paint the sky for those of you that don't know what that is. The wetting wet technique is where you Prewett the surface of the paper using water and then dab on and tap in all of the ward's colors. On top of that wet surface on the colors can nicely bleed and blend into each other to give you a really nice out to focus and look without any harsh edges. And so because you've got to do this technique whilst the surface of the paper is wet, you don't want to waste any time mixing your colors after you've worked the paper. So I always mix my colors first when I'm using the wetting, what's technique? And like I said, I just put the yellow on my pallets, that orange tone. And then I mixed the torch Marine and the move together to give a nice purport blue tone, and now I'm going in with that really large paint brush that I showed you earlier on. I just use this paint brush with clean water on it, and I'm just pre wetting the surface of the paper you want to make sure that you get into all of the corners and edges and go over that era area thoroughly. And you also don't want to wets the bottom half off the paper. You want to stop where it meets the field because you're just wetting the sky for now, as we are only working on this part in this lesson, now that I've wet the surface to the paper, you don't want to have puddles of water. You just wanted to have a nice, glistening surface. I'm going in with that yellow and I'm working that throughout the bottom part off the sky I am leaving a white area just above where you can see that pathway That road just above there. We're gonna leave that white for a nice highlight. I'm now taking the orange on. I'm working that throughout the middle portion off the sky. I'm just looking at the reference to see where I can see these tinges of yellow on orange in the sky. You can see that I'm going horizontally with my brush strokes to mimic the look off clouds , and I'm leaving areas off white in between so that it gives the look of highlights in the clouds. I'm now going in with a little tiny bit of the blue on my brush to establish a nice light blue shade on the right hand side off the sky, and I will be tapping in some darker shadows now to add a bit of contrast to the sky. As you can see because the surface of the papers really nice and wet, the colors are just softly bleeding into each other to give a really diffused luck. I'm also overlapping. Some of that blew onto the orange so they can mix together and give us more of a darker dollar tone. Because in the reference, you could see that there's some areas that aren't really super vibrant on when the orange and the blue mixed together. It creates this nice purple sort of tone on our mainly working those shadows for out the left middle section off the sky. I don't want to bring that blew down too far because I want to leave the bottom part off the sky yellow so that we're not just mixing and muddying all of our colors together on to keep the bottom of the sky yellow with hints of orange. And then, as we move further up towards the top of the sky, we've got some darker blues on some more intense oranges mixed in as well. I'm overlapping some orange into that dark blue. Whatever. I want to darken up the clouds a bit more, and I'm just going to keep adding in some little hints of blue and orange is here in there , making sure to work fairly quickly whilst the paper is wet. Now you don't have to copy the reference. Exactly. You can use it as inspiration and just let your creativity flow. With this, I'm going in with some oranges. I'm working out of more throughout the bottom section of the sky into the yellow, because at the moment the bottom of the sky looks pretty much just yellow. So I want to get in some other subtle hints of oranges in there just to make it look a bit more interesting and not so bland. If you just want a tiny bit of orange on your brushing, you don't want the area to be super concentrated that make sure you're picking up less paint on your brush, whereas if you want an area to be really concentrated and pigmented and dark. Pick up a lot of that color on your brush so I control how light or dark the color is on my paper by how much of the paint I pick up on the brush. Now I want to go in and reveal some brighter highlights. Toe Admiral. Contrast to the sky, so I'm using a clean, damp brush. It's very important your brushes, clean and damp, not went on advocacy under she. Using that brushed resort, the wards color into the bristles, and it pulls up that wards color to reveal some really beautiful highlights, as you can see, and this will only work while Schwartz color is still wet. But make sure that you blocked off any excess water from your brush before doing this, because you want it to be damp brush, not wet brush. Otherwise, if your brushes to wet the water will pull on to the paper and create with collie flower effects. So I just rinse my brush off in some clean water and dab it on some tissues so that it's nice and damp and then use it to lift up the warts color. And so that is it for the sky. Make sure you wait for this layer to dry before moving on to the next lesson where we'll be painting in the road on dso off. See guys in the next part of this class. 5. Painting the road/ pathway: in this last time again to paint in the pathway in the middle off our beautiful grassy field. So let's get straight into it, just to recap the colors that I'll be using for this part off. The painting process is just three colors. I'll be using the yellow Oka, the Indian red on the bunt number, but anymore golden yellow tone will do a nice, dull toned, natural looking red and also a brown color will work fine for this. So I'm simply gonna mix those three colors together. Mainly, there's gonna just be the brown number. As you can see, I'm adding a lot of the brown number two. My palettes. Andi, I will just add a tent a little tiny bit of that Indian red, just to give it more of a red tone to it, more of a warm Hugh and also mix in just a tiny bit of the yarrow Oka, but mainly the bulk off the color should be the bunt number, with just a hint of those other two mixed them. I'll always be mixing out my colors first with each lesson. Now, for the second color, I just put a tiny bit off the paint from the first pan into the second pan long just adding lots of water to create a diluted version off that color. And I'm gonna take that diluted wash and just add it to the whole off the road. I'm just using my medium sized brush for this, and I'm just spreading that base wash all over the pathway, using my sketch outline as a guidance just so that I've got a nice base initial color down on the pathway. And I'm pulling that a little bit to the side off the road because in this area, as you can see the grass on the's sort of gravel for the pathway and mixing together. So I'm just gonna overlap that color a little bit into the grassy area next to it. The next thing I'm gonna do is take the darker version of the color we mixed up, and I'm going to use this to start toe, add in the shadows. So as you have seen the reference, the shadows both around each either side off the road. And also there's a darker strip in the middle of the road as well. So that is where I'm targeting these dark areas. If you ever are unsure about the lights or darks and mid tones in your reference, then a tip that I have is you can always turn your reference toe back on whites, and that makes it easier to judge, which are the darker values in the darker shades. Because when you have lots of different colors in a picture, it's sometimes hard to identify what are the lightest and darkest parts of each area. Now I'm using my smaller, detailed brush to simply paint in a darker section in the middle off that road, and you can see that that darker shadow is thicker where the road is in the forefront and then it gets thinner towards the back of the road in the distance. And that is because again, the road is more narrow as we get further into distance. On its wider as it comes into the forefront. I'm also using a tapping motion to create little details, either side off the road, where it's mixing in with that grass to create the luck of little bits of mud and dirt. Add a bit of interest to the paintings that it's not all smooth, and I'm doing this with the darker paint and with my detail brush, and this will add more interest to the peace rather than everything. Just being, Ah, flat wash as ing in the little bits of texture to the road will help make it look a bit more dirty. And like I said, I just use a tap in motion to do that, and that's all we need to do for the road. We can't a few more details later on if we need to. But in the next lesson, we're going to start to block in the field, So I see guys in the next part of this class. 6. Painting the field: in the system. We against the paint in the field. So here you can see the final result. After we have completed this lesson, we've got some beautiful shadows in our field, lots of different values of green on. We've also got some grassy texture in there as well. I'm also gonna be going through how to use masking fluid. Now to recap, the colors will be using the overage in hue, the cadmium pale yellow hue on this sepia. So just those three colors and I'll be using my Ma little Maskin fluid pen Onda again. This is optional. So don't worry. If you don't have this, you can definitely still do this lesson without a mask in fluid pen. Just miss out this first step. So what I'm doing first is I'm taking my mask in fluid pen, and I'm just using it to create a little individual bits of grass. There are overlapping onto that really dark, shadowed area because it's very hard to paint light of water colors over the top off dark ward's colors because watercolors are very transparent. So what I plan to do is use the masking fluid to mask off some of those longer strands of grass that are more the focal point in the front of the painting, so that we can freely paint in all of our shadows underneath and between those blades of grass. And then we can rub off the mask in fluid and will have thes lovely white details that we can just go lay some light green over the top so that we've got those really dark shadows on. We've also got in a light detail. Strands of grass have blades of grass on. Mainly I added most of the masking fluid on the right hand side, as that's where we can see a lot of those individual lighter blades of grass sweeping down over the shadow area but also adding little bits of highlights and grass texture on the left hand side. The difference is on the left hand side, ongoing pretty much straight up with the blades of grass and undoing them. Shorter's on doing shorter strokes with my musket through Penn. Where is on that? The right hand side? You could see that my blades of grass will longer and they were leaning very much over to the left hand side, and they're very curved. I'm also just using this to add a little bit off texture and detail within the rest of the field. But remember, none of these highlights again to stay white will be blazing green over the top of them. So now I'm just gonna makes up the colors that I'll be using. And I'm just mixing them over the top of the colors that we used for the road. No need to clean out the pan here. And so I'm mixing the Meriden Hugh with that pale cadmium yellow hue to create this ready Nice yellow toned green. You could also just use the sap green for this. If you have that in your set on for the second color, I'm mix in the origen Hugh with the sepia to create this Rudy nice, dark, rich green tone, which we're going to use fourth e darker shadows. If you want to make it really dark intense than you can add a little bit off black if you want to. I like to try and avoid that so that the painting doesn't look too flat. So I'm taking that first wash, and I'm just painting that all over the field. But before you do that, you want to make sure that the masking fluid is completely dry. If you've done your mask in fluid ready pick, then it will take longer to dry. So make sure that you don't start the watercolor process. If you're masking, fluid is wet. And if you haven't used masking fluid than these steps, will still be exactly the same. So you can still follow this class in exactly the same way as you can see. We've got a really nice light green base layer all over our field, and now we can start adding in all of the different yellow hues on. Also get in some darker shadows. But so is nice to start off by adding in a base layer as you can see off mixed in a little bit more off our yellow tone into our ever ridden Hugh so that we can get some more yellow turned greens in there as this as a lot of vibrancy to the field. Now I'm taking a smaller, more detailed paintbrush, and I loaded it up with that second darker green that we mixed up and I'm using this to create the two shadows either side of our road on the's shadows created because the field grass is very tool, so it's creating that height either side off the road. And it's great to add the shadows in because it makes the road look sunken down into the field, which is what we want to go for in this painting. So it's really important to get in all of the little shadows that you can see in your reference only to make the paint in pop. But to make it all make sense, they're very important, and the shadow is a lot thicker on the right hand side of the painting on the right field. And so I'm targeting a lot of the paint in this area, and as I get towards the road, you can see I go more towards a tapping motion to integrate it with that brown. So because the base layer is still pretty much where we are using the wet in wet technique here because the surface of the paper is still wet, and because of that, we can go in and tap in these darker shadows without having to worry about any harsh edges . Also right in the horizon right at the back. Off the field, you can see it's a little bit darker. There's a little darker strip on the right hand side, so I just darkened up the back of the field. I'm also bringing that shadow further down on the right hand side to really make a painting pop. Now I'm doing the same thing on the left hand side. We can see that I left a small thin strip of lighter green just above where we've added in that shadow because in the reference, it's a little bit darker and then it's got that lighter strip of green right behind it. You can see that occasionally. I do a few brushstrokes to indicate where the blades of grass arms as this will help to give a nice, realistic texture to the background. We don't have to worry about adding lows of details right now because we are using the wet on wet technique. It will all soften out anyway at the moment. At this days, you just gotta focus on getting in the different values in the painting, getting in your lights and darks and also making the water color looks vibrant by adding in more yellow turned greens as well. And as the painting starts to dry, humane, no Tisha watercolor lightening up just like I did. And so you can go back in and add more darker green to the areas that you feel need to be a bit DACA on the left hand side. I'm also doing a few little brush strokes to indicate grass, texture and the direction it's growing in. So doing those vertical lines going straight up, just like we did when we applied the masking fluid, we did lines going straight up vertically on the left hand side. Where is on the right hand side when I paint in little bits aggress. I lean it towards the left inside, just like we did when we created the grass, using the masking fluid pen on that side. No, I'm just tweaking things, darkening up the shadows where I feel like any to darker. But that is it for blocking in the field in the next part. Off this class, we're going to go in and add details into our field on work, on adding details to the field and also the pathway. So see guys in the next lesson 7. Adding details to the field & road: Now we're gonna work on adding instant details to our field and to the pathway. So we're gonna be using the same colors that we have done when painting the pathway. And when painting the field in previous lessons, I'm going to start off by removing the mask in fluid. Now you need to make sure that you've waited for the previous layers of watercolors completely dry. When you're painting to be dry as a bone before you go in and remove the masking through it , you can use your fingers to remove the mask in fluid. Or what I prefer to do is use an old tea towel or old cloth. And this makes it really easy to remove the mask in fluid without rubbing up your fingers and making them. So if you didn't use masking fluid than again, don't worry about this step and just continue with the rest of the lesson, just like normal now. One thing that I should have mentioned before is that if you've never used masking fluid before on your paper, then you want to make sure that you're using good enough paper that it doesn't tear when you remove the mask in fluid because some really cheap papers or papers not meant for watercolor or tear. When you try and remove the masking fluid, so definitely test out you're masking fluid before you use it. Now I'm using that lighter green color, so the variety in hue mixed with the yellow, and I just glaze that over the areas where the masking fluid was. And as you can see already, we've got some nice details, but they're not bright white anymore. And so that's just a simple little trick that you can do to create highlighted details that overlapping shadowed areas in your painting. And this technique can be applied in so many different types of paintings. I'm also going in with my darker brown. So again, mixing the burnt number with the Indian read a little bit of the yellow coat, or you may still have that color mixed up from the previous lesson. I'm just using this to add little textures to the road, so maybe I'm doing little stippling motions with my brush. Tad little bumps in the road, little bits of murdered just to really add more interest to the painting. Now I'm using that darker green watercolor that we mixed up, which was the virgin huge on the Seppi M and I'm using this toe. Add more details to the grass and I'm using my really small detail paintbrush toe. Add individual blades of grass, especially at the front of the painting. As the field gets more towards the distance. We can't see those little details because the fields in the distance but close up right at the front. We can see a bit more detail on individual blades of grass, so make sure that when you do add in details, you think about what you'd actually be able to see. If you're looking out a big field, you won't be up to see little detailed blades of grass really far in the back. But you would be able to see little bits of grass and bits of merge where you're standing right in front of you. That's why I'm just adding details to the front. Now that is it for this lesson in the next parts. We're going to finish off this painting by painting in the couple of little trees in the background and also adding a few details with color pencil. So I see guys in the final lesson 8. Painting trees- finishing the painting: welcome back to the final lesson in this class on painting a simple landscape using watercolors. In this final lesson, we're gonna focus on painting the two little trees off in the distance at the back of our field. And we're also gonna add a little bit off detail using a light green colored pencil. Now I'm gonna be using the same green color that we used for the field on. I just started off by doing a vertical line very thin for the trunk off the tree. Andi, I'm just doing a tapping motion with a very light wash of that green just to block him where this tree is I'm using. That's to create the foliage, just this little tapping motion. I'm creating the foliage in sort of a circled cluster. So think of the tree as a circle where the foliage is with a vertical line for the trunk. Because it's so far in the distance, we can't see individual leaves, so we just sort of getting in. The impression of foliage on the trunk is going to be very thin now. This tree is located just to the right off our road pathway, so that's where I placed it. So I used the reference points that we could see in the reference we could see that the tree is just the right hand side off that pathway. And then once I've established that shape, the trunk and the foliage on going in with same color but darker versions of it would less water mixed in on. I'm just using this to go over those markings that I've already painted in. Go over the foliage and the trunk to darken it up, and now there's already smooth tree a little bit to the left of the road, and you can't really see the tree trunk for this. So I'm just doing a small little cluster of foliage in a smaller circle. It's more like a little bush in the distance rather than a tree. And I really love using this tapping motion with a small detail brush to get in these trees and get full looking natural foliage. Or you can even use a sponge. I have a piece of a washing up sponge. I love to create foliage, but that's probably more suited to creating larger trees in a painting rather than these really small ones. you can see that I'm just building up more more layers, gradually getting darker in the reference, you can see that the trees were actually very dark, so we do need to build upto a darker color. But once you've got that first wash established, it's very easy than just just go over it with those darker colors, and that's it for the trees. Very simple, very easy and quick to do. Now this steps optional, but I'm taking a light, green colored pencil. No, I'm just using this to create a few details in the grass on to make a few areas of field a bit more vibrant. Really, I only use this for a couple of blades of grass, so it's no big deal. If you don't have a color pencil, it really isn't necessary, Atal. But if you want to use it just to add a few more details than color pencil layers over the top of watercolors really nicely. So if you didn't have a masking fluid pen, but you have a color pencil, then you can use that light green toe. Add those blades of grass going over the top off those dark, shadowed areas either side of the road. Now, I just finished off the painting by going over the tree once more, darkening it up and he can see the final result of this landscape from our class. I really hope you guys enjoyed following along with the class on. I'd love to see if you guys created this project yourself on what's on this painting. I'd love to see what you guys created. You can also tag me on Instagram if you post them on there using the at at Kirstie's Arts. Thank you so much for following along with this class. If you want to see more from me, then you can check out everything I have to offer over on my website, Kirsty partridge dot com. But thank you guys for watching and I'll see you in my future classes by everybody.