Simplified Abstract Landscapes in Watercolor | Jessica Sanders | Skillshare

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Simplified Abstract Landscapes in Watercolor

teacher avatar Jessica Sanders, Artist | Designer

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

14 Lessons (1h 30m)
    • 1. Welcome!

    • 2. Supplies

    • 3. Basics 1 What is a Landscape

    • 4. Landscape Basics 2 Framework

    • 5. Landscape Basics 3 Composition Designs

    • 6. Landscape Key Concept Depth

    • 7. 5 Minute Mini Landscape - Horizontal

    • 8. 5 Minute Mini Landscape - Cruciform

    • 9. 5 Minute Landscape - Leading Lines

    • 10. Large Landscape 1 - Seascape

    • 11. Large Landscape 2 - Part 1

    • 12. Large Landscape 2 - Part 2

    • 13. Simplified Abstract Landscape Examples

    • 14. Project & Thank You

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About This Class

Learn to paint abstract landscapes the easy way with watercolor and mixed media artist and teacher, Jessica Sanders!

Welcome to Simplified Abstract Landscapes in Watercolor!

In this course for beginner to intermediate level, you will explore simplified abstract landscapes, while focusing on composition. You may be surprised how easy and fun it is to create wonderful abstract landscape paintings!

Meet Your Teacher

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Jessica Sanders

Artist | Designer


Jessica Sanders

Artist, Instructor, Designer

Hiya, beautiful skillsharer,

I hope all is well with you!

I tried out a fun technique last week, and, well...

I got super excited about it!! It was so fun, I just had to share it.  :-D 

I was so excited, that I turned it into a wonderful, relaxing, playful class.  

Watercolor with Me: Lovely Leaf Prints & Negative Shape Painting

Image: Leaf print example painting by Jessica Sanders

Let's make lovely leaf prints with watercolor together! 

We'll play with watercolor, and practice negative shape painting - a very important skill in watercolor painting.

In this class for beginners, or anyone who... See full profile

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1. Welcome!: Have you ever wanted to create beautiful abstract landscapes, but you just didn't know where to start. Well, I'm here to help with that. Let's explore simplified abstract landscapes together. How low my grant friends, Jessica Sanders here, welcome to my channel. In this class for any level, we're going to start with the basics. We're going to talk about what is a landscape in its most simplified form? And what does it mean to be abstract? Then we'll talk about a basic framework we can use for abstract landscapes. Next, I'll share with you three different composition designs that work great for creating abstract landscapes. Once we've covered these basics, then we'll move on to some painting exercises. We'll practice doing the three different design competitions with watercolor. But we won't stop there. We'll go on to paint some larger size landscapes and push our skills a little further. We'll be practicing our design skills, learning more about composition and creates a beautiful paintings along the way. So what are you waiting for? Let's get started. 2. Supplies: So let's talk about supplies. So for this class, you really need just some basic watercolor supplies. So you will need watercolor paper. Now I have 140 pounds, 100% cotton, b, Jacobi watercolor paper. The main thing is that it is compressed and that is 140 pounds, so it's kind of stiff. So you want to go for that kind of paper. And the brand is totally up to you kind of thing that you do need the heavyweight paper for this class. I have a cloth for drawing my brush. Ooh, jars of water, a variety of brushes. Now I also have a pencil. So this brush holds less water, less paint. It's my small brush. I do have smaller, but this is the small brush I'm using in this class. This is a larger brush and holds a lot of water, a lot of paint. So I'm using that on the bigger paintings. And this is a specialty brushes called a dagger or a loose goose brush. And you can see it has this really interesting shape. I'm just using this one to loosen up. He's got really floppy bristles and this one is wet, but let me show you dry one. So when it's dry, it looks like this and you see how floppy those bristles are and it does like really nice effects with the paint. And it's really good way to loosen up because you have wait-list control and you can do some very interesting shapes and marks with this, but this paint brush is not required. It's just fun to have. You can use just browned brushes for this class. I also have a pencil for working out where I'm putting my composited landscapes, but I don't use this very much. You need watercolour paint. I have my mission goal palette, and I have some Daniel Smith colors, and I use both of these in this class, but you do not need this many paints. Please feel free to use the paints and colors you have and that you love. All right, so other optional supplies you might want to have a fan brush, might want to have a smaller brush. And one of the lessons in this class, I go a little crazy and bring in some found objects and acrylic inks and acrylic paints. Again, these are optional kinds of supplies. So. All right, let's get started by talking about landscapes. 3. Basics 1 What is a Landscape: So let's consider what is an abstract landscape and how can we simplify it? So first off, what is a landscape? We're thinking in terms of painting or drawing. And a landscape in its most simple form is simply a line. That's pretty much all you need to create. An abstract landscape. If you wanted the most minimal version of a landscape, it's a line. It's the horizon, right? Every landscape has horizon. Now of course, that can be visible or not visible. How can that be? Well, I'm being a little cryptic here, but, but the thing is, anytime you add landscape features like say, trees or mountains or water or even sunlight, it can cover up this line. You have this landscape, this is our horizon line. Now the placement of this line is very important. And we're going to talk about that in a minute. But right now let's just talk about this horizon line. So if you imagine if you're at the ocean and you can actually see this line. So you would have water and maybe the sun, right? Very simplified. We're not going to paint it that way, but this is just an example. And what can happen is say this is a beach where you can see the horizon. But if you were at saved in the mountains, you would still have your horizon line. But you just wouldn't be able to necessarily see it because it would be covered up hills and mountains, right? So now, what's really visible are the hills and mountains. But that line is still there in that same location. So that is something to consider. It could also be covered up by trees. So this horizon is seen. And this one is still here. But it's not visible. At least not as soon as you look at it, right? So that's something to think about when you're creating landscapes. The horizon line is the most important thing on the landscape. So we don't want to say horizon line is the most important part of landscape. If that's not placed properly, then your landscape will be out of, your landscape composition won't work, right? So that's something to keep in mind that the very most simple, basic forma have a landscape is aligned and that horizon line, whether you can see it or not, is very important coming up, we'll talk about placing the horizon line. But before we get to that, let's talk about the abstract part of our landscape. What makes it abstract? What makes a landscape abstract? Well, we're not going to worry about realism. So we're not concerned about realism or making an landscape. What are we concerned about? Well, we care about the atmosphere and the feeling the landscape creates. So in creating a simplified abstract landscape, we're going to want someone do to look at the painting. Or we look at the painting and realize this is a landscape. It reminds them, oh, landscape. But really what the point is about the feeling and how, how like it's a warm sunny day or it's a cool, crisp night or those kinds of things like, like, oh, there's rain in the distance, it's sultry. It's, it feels pleasant, it feels hot. That capture that feeling that you have while you're say in a certain place. So don't get too worried about all of this stuff because it kind of really, you know, what a landscape is. It will come from, from inside of you. It will be pretty intuitive as far as that goes, because it's about how you feel and we'll use some design compositions to create our landscapes. 4. Landscape Basics 2 Framework: So let's talk about a framework for our abstract landscapes. Now, a really easy one to use, and it's used a lot in art and photography is the rule of thirds. And basically it just means that you divide your paper into thirds, both horizontally and vertically. So I can measure if you prefer. I'm just going to eyeball it. It's about a third. And about a third. Right? Horizontal. Then I'll do this. I'm sorry, vertical. Now do the same here. It's like a tic-tac-toe board, right? But it's on your canvas or your paper that you're painting with. And your horizon line should go here or here. It's not simple. So if you use the rule of thirds as your framework, you'll know where to put your horizon line either at the top 1 third or the bottom 1 third. You don't want to put it in the middle. You don't want to put it here. Your horizon line does not go in the middle. That is not a very pleasing composition. Your brain doesn't like that. And so you just want to remember to keep it at either the bottom 1 third or the top 1 third. Either one of those will work for the horizon line. Now, I'll create another. And this is not doing a very good job of dividing it, but I'll create another 1 third, 1 third here. And yes, I'm using multiple lines because I'm an imprecise person. So once you chosen your horizon line, then you wanna create a focal point for your abstract composition or your abstract painting landscape. And that will be in one of these intersections of our rule of thirds. Now, this is based on some really complicated stuff, but it's a very simplified version of creating a very pleasing composition that you're naturally drawn to. So pick your horizon line first. First, pick your horizon line, then choose your focal point area. The focal point is going to be the area of most contrast. That can be value contrast, that can be shaped. Contrast. Value is light and dark, which is probably the most likely since we're doing abstract landscapes. But it can also be shaped, contrasts, everything smooth and you have something that's more of a definite shape in that area. It can also be contrasts in the form of gradation. So moving from a gradual change from light to dark, we're dark to light. Another way to create contrasts is through color. We can use warms and cools to create a lot of contrast. That's going to be an important concept when you're painting a landscape. And we'll talk about that more later. So now that we have the framework for our abstract landscapes, let's talk more about some types of compositions that you can use to create a pleasing landscape. 5. Landscape Basics 3 Composition Designs: So there are many types of composition designs that are great for all kinds of art, great for abstract, great for landscapes. But we just want to focus on a few for this class so we can create simplified, abstract landscapes. Okay, so first let's talk about horizontal. And horizontal is just that. It's a composition that has horizontal lines within it, right? So essentially the movement of the eye is horizontally across the page. And so a landscape can easily be horizontal because what we have is a horizon. We might have some clouds and the sky moves across. And maybe we'll have some landscape features, right? So let me wet that. This is a water-soluble pencil on using just for practice. So maybe we'll just have this horizontally shaped lines in Marx that really create the eye moving across the painting. Okay? So in this case, I haven't really picked a focal point. But if I were to pick a focal point, I would probably put it here. And I can do that really simply just by adding that little bit of contrast. And now I have a horizontal landscape, okay, with a focal point using our framework for the rule of thirds. Okay, so I imagined third, 1 third, 1 third, 1 third. That's the spot. You can draw it in with a pencil if you need too, that's fine. It can always be erased before you do your painting. It's watercolor. Or if it's acrylics or mixed media, you can just paint right over it. Now, cruciform is the shape of a cross. And in the case of a landscape, I would consider it to be horizontal and then vertical. And in doing that, we're actually creating a focal point there automatically. So this would be the cruciform shape and it can have contrasts within it and all kinds of things going on. But your area of interest in this particular composition design is cruciform. Ok? So I am naturally creating a place where your eye's going to go straight there, place to look. And it is in the shape of this cross. And there are lots of ways you can do this. Essentially I, so in this one, I'd still use the rule of thirds. I put mine cross shape on one of the intersection points. And in this case I just soften it. We're doing very simplified version where we do our paintings. We'll add a little bit more contrast to create really strong place for your eye to go. And you can do that now just by adding a little bit more of this pencil. And I'm blowing it out. I'm just playing a little bit, having fun. So cruciform, really simple composition. It can be really strong and powerful. It doesn't have to be thin like this. It can be like a thick thick area. So it is still the same shape, right? But it can be bigger as a half to be perfectly small and thin. So just wanted to point that out to you as well to the next composition I want to talk to you about is leading lines. And essentially what I would do is place my horizon line, which in this case, I'll put this top 1 third. And I'll decide on my area, my focal point in this case here. Okay. This is the same focal point is this one, but I won't be using these lines. I'll be using lines that flow toward this focal point. So sort of radiating lines, but it draws your eye into that area. Now if you use the lines, that way, you will automatically focus on that area. So what I'm going to do here is just create some radiating lines. I'm not going to put anything in that area where focal plane is. Just some lines all kinda going in that direction. And guess what? Your eye goes. Oh, that's the spot. We can even learn out a little bit. Your eye is still going to get there. Alright? So those are three design compositions that can create really pleasing abstract landscapes. For many types of compositions, this is only three. And it's just to get you started there other common types for landscape, but I feel like these will be really simplify the process for us. So we can create something really fun and beautiful. 6. Landscape Key Concept Depth: Let's talk about one word key concept before we move on to doing our paintings. Now this key concept that I want to talk to you about is depth. And if you're creating the idea of a landscape, then you really need depth in your painting. And so you have a picture plane. In this picture plane is you're painting, for example. So you've chosen your horizon line to beat this bottom 1 third K. Your horizon line is essentially the furthest point, a way that you can see. And it's going to be the coolest, the area where you want the coolest colors. It's going to be the area where you want the coolest colors. Because cool colors recede naturally in they visually move away from you. So cooler colors at the horizon line will automatically create depth within your painting. The other thing, another thing to consider in creating depth is the size of the objects. So for example, the objects are larger along the top and bottom edges of the picture plane. The horizons farthest away can then these, this is the closest to the viewer. Now this is if you were standing at the beach and you can see the horizon unobstructed. Everything here is closest to you, and everything here is closest. And this is right over your head and this is far away, okay? Okay. That means that the closest areas is going to have larger objects. So for example, if this was the beach, you might have waves here that you can barely see. And as they got closer to you, those waves would become bigger and more pronounced. You will be able to see them easier. The same with clouds, clouds along the horizon. You really, really small even if they're big clouds in concept, right? But as they move up the picture plane, they would visually get little bit bigger. And right over your head. There would be the largest. Ok, so just doing that little bit of drawing, I can already see a lot of depth in this painting, even without any color. So those are couple of things to think about when you're trying to create depth in your abstract landscape. It doesn't mean that you have to use blues here. It just means you want these colors to be more muted. They could also be more muted or cooler than the other colors you're using. So it can be all in one color, but it would be the more muted or cooler colors that are furthest away and the more intense colors are closest to you. Now these are rules you can break. In fact, if you wanted your focal point to be here, you might have the most contrast and the most color and all the other things would be more muted. So just keep that in mind. It doesn't have to follow these rules exactly. But if you are creating depth, then you want to think about how this is closest to you, this is closest to you, this is furthest away. And it will create that sense of depth that you may want. Okay, so let's move on to doing a very simple abstract landscape. Alright, so let's get started. 7. 5 Minute Mini Landscape - Horizontal: Ok, my friends, we have talked about a lot of techniques and we've learned a lot of stuff. And I put a bunch of stuff in your head, right? But let's do can worried about all of that you may be thinking, this is more complicated than I want to think about. Well, guess what? You don't have to think about all of that at one time. You can pick and choose what you want to do. And you can say, keep your framework in mind, pick a location for your horizon and then just paint. And don't worry about all that other stuff is for practice and through fun. And so right now we're going to focus on loosening up a little bit, breathing and enjoying the process of painting. Because after all, that's one of the main reasons why we're here is just to enjoy the process, to give ourselves some creative space and enjoyment. With that in mind, we're gonna kinda get started. Let me give you the setup. You have my mission, goal palate plus my Daniel Smith paints. As always use the paints you have. Choose the colors you love. Work a promise. Okay, so first off, I'm just loving, you know, I've got all my paint here so I don't have to think, oh, I wish I had that color because I sometimes do. Those are some convenient colors for me. And I'm gonna move this because I want you to be able to see my palette. I'm going to be using this one around brush. Now I often push you to use a brush that's bigger than you think you need. But in all honesty, for these landscapes, this brush is too big for this paper. And it trips me up because the brushes too big. So I'm aware that this holds a ton of water and a ton of paint, and it's too much for this small paper. So I'm setting this one aside. Okay, I'll set up, I've got my little mascot, turtle here. Tissue, cloth. I'm ready to go. And now what I'm going to do is I want to limit myself. So I wanted to do some quick abstract landscapes in say, five minutes, maybe ten at the most, and setting the timer for five minutes. But I'm not going to leave that in view because I don't want to pressure you. You don't have to set a timer if that doesn't work for you. But this is just to give me a guideline of where I am on the top so I can be aware because if I get involved in the creative process, I lose track of time, right? So this is just a way for me to keep time and it may be helpful to you to sort of go. Okay. I'm just going to play with this for five minutes and then I'm setting it aside. If that's not helpful for you, forget about the timer, doesn't matter. Let's just paint some fun and easy abstract. Ok, so we're going to get started. I'm just going to create a horizontal landscape. And keeping in mind the rule of thirds, as I said, Don't stress and worry about it. It'll be okay. Just enjoy and relax and paint. And those other things, all the things I taught you about composition, those things will come just kinda keep it set to the side and you can refer to it every now and then, but now. Just breathe. Light a candle, turn on some soft music, whatever it is that helps you to relax. Relax your shoulders. Live, Shouldn't. There you go. Okay, now, let's just enjoy painting. Ok, so let's get started with our first composition, which is horizontal. So I'm going to eyeball but about a third and put this at the top of the paper. Kaplan search. And remember we also have thirds going vertically. So that's about a third. Let's make that a little darker there so I know where my focal point area will be and it can be, you know, this whole area if it, if I want to, it's not just this one little dot. So keep that in mind too. Not too much though. I'm now going to start my timer and get some paint. And I want to get a pretty concentrated pink color so we can pick any color we want. Look at that. I've already turned my water really blue. I'm going to pick two colors. Kind of lime green here, yellow, green, and pick out blue. I'm going to just make a line. I'm going to start with the most basic thing. And that is a line. I'm actually gonna start here and make a messy line. And then I'm gonna go up here on the top. I'm turning my paper to make it easier and touch all the way across. But when I get over here to my focal point area, I'm gonna skip some spaces and may get uneven. And what I'm hoping is that paint will just move out. So let me just continue to wet that area. Let me go back to my paint and get even more and just go right back over that line. So that paint can flow out into that water and it's not flowing very much. I can tip it. Let's see what happens if I tip it. Still not flowing very much, so I'm just going to go back and add a little more water here. That more space to flow into. I don't want to line. We're going to just go continue all the way to top because I don't really want to work. Here we go. So that's pretty cool. Now I've got some nice little stanza trees. I think. We'll just drop in more. In those areas where flowed out. What's pretty cool. Now I'm just going to take my green. I'm just going to wish it across underneath there and let it go To be a dry brush. Now. Now most of the taint is out and I'm giving that texture. That's pretty cool. And I'm focusing on a horizontal composition. I can add in more green because I go, I want that texture. I'm doing that on purpose by having less dry brush. Dry brush is not completely dry, just has less paint. So this is really a nice yellow green. And now I'm going to mix these colors a little bit and I do need more water and more paint. I don't have enough. Here we go. Now I'm creating some continuity in my painting because I am using the same colors to mix the next color, right? So it's continuity of color. Again, I forgot, I forgot for a second I was doing horizontal. I don't want just a plain flat line there. So I am going to blend together a little bit and go up into the area that I was in before and go over a little and it just creates it's too light right there. I don't want my eye to be drawn to this edge because it's just to contrast 0s. So keep that in mind also. And horizontal continuing to think about horizontal composition, I don't really want any white of the paper down at the bottom. It doesn't have to be dark, but I also don't want to just draw your eye to much. And for fun and add some texture, tap and a little bit of water, flowers or something. I'm gonna do it all the way across because I'm thinking about that horizontal composition. 90. I think I can still add in more of this peacock blue for the top and create even more contrast in this area. This is all still wet. Strengthen that composition. And then I'll drop that Congo color in there as well. Not all the way at the top, but down here it's not gonna spread quite as far this time because the paper is not quite as wet. Now what I want to is water down its color a tiny bit of the screen just to go a little bit different color. And put that up here at the top. My timer has gone off. Was to green. I don't want my sky to V2 green. Continuing to think about that horizontal composition. And I'm gonna take my tissue and do a little puffy VOD there and tap it in kind of a cross to get some clouds. Cloudy shapes. Alright, and guess what? About six minutes? And this horizontal composition landscape, this abstract landscape is done. I will call this done. And it's not dry yet. And I could go back and add different things at a second layer. But for now, we're calling this good. I think it's got a really strong focal point in this area. It's extraordinary. And it's, it has a lot of interests. I think maybe the one thing I might do might take my palette knife and just a little bit of horizontal scraping there along the horizon line, just to add some interest and texture. And I could actually also pull that down a little bit. I don't know it just like that effect. It's not required just for fun. Alright, maybe that's a lake or something, there's anything you can do. So I think that's a pretty cool little horizontal abstract painting done in about five to six minutes. Ok, let's move on to the next composition. 8. 5 Minute Mini Landscape - Cruciform: Now let's focus on our cruciform composition. I'm going to make just one lower. In keeping with our framework. 1 third, 1 third, 1 third. Chef official form is in this area. All right, there we go. Now I'm going to do the five minute timer set to the side, so no pressure for you. So I'm just getting some blues here. I've got some greens. I'm kind of sticking what's similar or same color palette as before just because trying to keep it simple and quick and still interesting account, I just wanna make a sweeping mark and just I want it to be I mean, the landscape can be as simple as that. I mean, you'd have to minute landscape. There you go. Done. But I will add some sky to it. Let me add some sky. I kind of actually really like the simplicity of this. I like the minimal style. But odds, he's guy. Let's for fun. Kick it up a little bit. That way. More interesting. Down, make it really watery and loose. I'm doing a quick sky. I'm not doing a difficult sky. You can be much more meticulous with the sky. But for these abstract landscapes, I really don't feel it's necessary at all. So see this white area. I want that to be solved and just going to add some water in there. And I want to bring in more of this color. So now I'll get my tissue. Because the tissue has been so fun for me for this project. And just tap out some sort of cloud shapes and go really nice and simple there. I feel like this could be stronger. So let's just pick up some more of this green, maybe even go for more earthy green. Drop it in here along our area. Now I've gotten my horizon line a little bit high on this one. So just be aware that I did that. Kind of white counts got these shapes going on, looks interesting. There's something in the background. And I don't know what's going on here, but it's kind of cool. And I like the effect it's getting. And there's not a lot going here. Write a little something but making it very minimal. So this is a very minimal kind landscape. I can stop there. I can tap in more of our green that we're using and make it more tree ish. Kind of do the same. They're like see this hard Kenema hardline there. I'm just going to a little green on my brush. Okay. Just soften that up a little bit. String really dark and bright. It's a little distracting. I think. I can do my tissue again, pick up some of that color. My focus really does go here. I think I'm just giving that a second to dry. I have one minute left on my timer. I could do like a darker, darker color, darker chlorine and just drop that in here would be somewhere around here again, that horizon line is a little bit high. I'll just drop some of that in and we'll have some traits there. Alright. And also pull that down a little bit. Because I'm going for that cruciform kind of shape. You want that to be so obvious though. All right. So that's my timer isn't. It has been five minutes. Do I have a landscape? Is it abstract? Do I have a good focal point? I think I do. I like the way the sky looks. I think it's pretty interesting too. And so I'm just going to stop there. But my brush down, well, actually, I'm not because I see these, this, in this and that's just a strong contrast I feel is in this area. So I'm just going to put my water over it and tone it down a little bit and I think that'll work just fine. Okay, that's it. For now. Let's try our leading ones. 9. 5 Minute Landscape - Leading Lines: Okay, my timer is set. I have put in my horizon line and the area of focus I want to help now if it ends up that way, I don't know because sometimes I change things as I go. And let's think about our leading lines composition. We want our eye to go here in this area. And I'm just going to put a little bit of warmth in there. I think it will be nice. And then I'm just going to start bringing in some blue skies and maybe even some purpley pink sky. Blue in-between. Some being quite literal here with these lines. And just want to really demonstrate how that works. Alright, so I'll keep going with this pinky purple wicking lines. And also with my blue. And I'll go in between with some water just to soften it. But I don't want the edge to have those lines, but I think that this is really looks nice there. Now I see that this is kind of a weird shape, so I'm just going to pick up some of that and some of it will also come in to it. So drop some in, pick some up. And using a damp brush, I'll just pull some of that out in the direction away from our focal point. At some drops in there. It's kind of interesting. I didn't intend for that works. So that's pretty interesting there and it really emphasizes the idea of our converging or leading lines. Now, let's go onto the bottom area of our landscape. And I kinda wanna repeat a similar process, but I'll just use some greens meal. We create Sap Green. And I don't want to let this dry, right? Because I don't want the lines to be exact. I don't you might say I'm going to just drop in a lawn water here and pull those out and continue to pull those out and pull that water out in sort of radiating lines. So it looks like a field of something that's planted, maybe something like that. So as I said, being quite literal for this demonstration, but they don't have to be this pronounced. Right? And let me just drop in more color going. That can't even be curved. So picking up different greens and just going for it. Okay. Everything's wet. So and I went the biggest contrast to be there, to be my focal point. Right? So do I want anymore Green? I have this sort of blooming effect going on and I really like it. So I don't really want to mess with it, but it doesn't really demonstrate what we're doing here. This area does it, but it's still interesting. I can just add in a little bit more of that color. Maybe this is just sunlight streaking across. You know, it doesn't have to be necessarily like because Ed like rows of a crop that could just be that the sunlight is really showing. Notice also there get closer together and smaller and that area something that's pretty cool. This is kind of light. I think I want to bring in some yellow ochre mix with that line green and just keep that up a little bit. All right. So I have a confession. I did not start my timer exactly on time. And I have one minute left for right now. Right? Think that I can call this finished. It has some interesting blooms and things going on, but I do feel like a nice composition that demonstrates these leading lines. They're converging. And this is really is the greatest contrast because this is so bright. Now I do have this color kind of kinda wanna lower that cholera. I put green there. So we get for messing with it, right? Right. So it's just blurring that color out a little bit. They're not as And we'll put up blue there. See what happens when you start messing with things can change quite a bit. There we go. I think that works. Alright. So I have this nice area of contrast. I have the converging lines. I've got drips here because I wasn't really paying attention and I was holding my brush over my paper. I'll just add a little more spotters in just to agree a little more interest and just take advantage of that situation. Why not? It's an abstract landscape. Okay, so I'm going to call this as my timer beeps. I'm gonna call this finished. Now we're going to move onto a larger painting with less restriction. This series of paintings is to demonstrate the three different types of compositions. But now we're just going to really let that go. And nothing too much and create some larger abstract landscapes. 10. Large Landscape 1 - Seascape: Okay, we're gonna move on to a bigger painting now. I have a larger sheet of paper. I feel more free when I have a larger surface. But if you feel more comfortable working in smaller one, that's OK if you want to push yourself or from a little bit bigger. I mean, we can have some really big piece of paper, right? Or really big canvases, but it's not really necessary, but sometimes fun. So work on what works for you. Have it, have fun while you're painting. I'm going to use a bigger brush to go with my bigger paper. I've also going to be using some of my dado Smith paints. And I'm just going to play, have fun and let go. I'm not going to focus so much on composition and all that right now, although I do have my framework, which I will do. So I'm thinking 1 third, 1 third. So running here. Sometimes I helped me to put your pencil down to determine where the 1 third area is. So because sometimes I would put it here and that's about 1 fourth. But if I go like this that I can see better. It's about 1 third, you can always measure, okay? So there's my area of focus. I emphasis my focal point. There we go. And I'm just going to start with some really pretty colored. This is Daniel Smith, Manganese Blue hue. So really pretty color. And I'm just going to start with that. And I want to make sure I have nice strong color. One mistake I found myself making was I was using too much water, not enough paint, so I wanna make sure I don't mistake. Make that mistake again. I mean, I can always add more paint, right? But you get more less punchy colors if you use more water, right? It depends on what you're going for it and I'll just start with a line. And I think I'll think of an ocean seascape here. I think that would be nice. Really strong line here. This brush holds a lot of pain and a lot of water. And I go straight to my palette sometimes. Sometimes I skip here and just pick it up here because I can get stronger color straight from my little paint pan. Right? I'll be adding some more colors, but just starting with this one. Let's just go ahead and do that. And again, as I said, I'm thinking of an ocean escapes and just going to add water. We're just going to play and have fun and see where it leads us. And I want to add a lot more paint there. So we'll just bring this in so you can see better. At least for now. Really pick up that pain and put it here. And I'm thinking of the ocean. So I want to like have some dry brush effects. And that's simply just getting most of the paying off your brush. And, and then you can swipe it across the paper as a texture of the paper will pick that. And now I'm going to switch to I can peachy color. So I have this sort of reddish brown mix here. There's just a mix of colors. So warm Brown is really what it is. See it doesn't have to be a specific color. Just have a mix of Brown's. It's just fun. It's just, this painting will be fantastic. And if it's not, I learned something from, oh, that's the wrong mix of Brown's right. Taking that all the way to the bottom. So creating that nice sandy, sandy look, I'm going to bring in some more colors. So this is so resilient chromium here. And this is also going to be sort of a blue-green color. And I it's nice and dark. And I'm putting it right in this wet paint. And I will just go straight over is BCCI area. That's a lot of fun. Okay, now let's bring it up more bluey purple, more purpley blue rather, which is this cobalt blue. And I'll put that here in distance and sum here. So I'm just trying to create interesting color mix and effects and create cohesive painting. Really like that looks nice. I want to make sure this is, of course, this'll be in frame. If this were framed, this could be in the frame. Could be showing don't want like super white on the edges that will distract you and you're looking at or distract the viewer. Okay, that looks pretty cool. I like that. Maybe if you little splatter water because it's been abstract landscape. Alright, now let's put some contrast here and create sort of a, an island. So this is really dark and then thrown blue, super dark blue. And it's a purply blue. And I'm just going to use it here to create an island or a bake or something like that, right? Aren't to be thicker on this side than on this side and maybe a little over here too, but not as much. So we've got some land going on. Now let's just clean my brush and we're going to put water on there and let that colour flow out and hopefully create some way tree shapes and that sort of thing. And let's go all the way across. So you see that kind of wishes out into their I don't want to solid line, so I'm adding more water as I go up at the top. I'll take that water all the way to the edge, I think. So now I have some really pretty wet and wet effects. They're going on. Now won't have any harsh lines from that. Pick up a little bit more of this and tap it in and create something interesting on this island. Maybe it, they're trees or maybe there's a little building. And if I put a straight line, might think that's a building. Okay. This area is my focal point. I want some strong contrast there. So darker, darks, light or light gives you strong contrast. And put more paint, let that flow a little bit more. And then a little more water. I think we want that to flow out some more. In this area in particular. And maybe we have some trees going on there. Let's pull down a shadow area. So I'm using the very tip of my brush and just touching that. And, and I'm going to touch every area, just let that flow down a little bit and create sort of a shadow effect. Okay, we got, I want to take this out a little further. There are some bushes and things going on and make that a little bit more define. This a little more defined. There's a lot of water on this side, so it's going to have an effect. I can wait and let things dry a little bit. That might help. Okay, I want to do something a little unexpected. So I'm going to drop in some green because, why not? That's a lot of fun. Maybe there's some trees. Maybe something's going on over here and we can see a little color. In real life, you might not be able to see this color babies too far away. But this is a real life. This is an abstract landscape. And it doesn't have to be really realistic. That's a lot of fun. We pull that across. Little almost have like a going on there. I think actually because of the way this is so close and it's a little distracting. I want this span focal point area. I could change my folk one area by the way. And the boss, my painting is not the boss of me. It's dark color. Just don't forget that you can change things up if you want to as you go away. This looks, I love the strong contrast here. This, it's really pretty too mean to me. And I'm the painter rate. We say put some little dots in there. To me. They look a little bit like maybe palm trees or something. That's a little dot. I don't know. Okay, let's make a sky and flip that to some, some of its own thing. Let's make sky will use our cobalt color because it's the more purpley color. You could use, ultramarine blue or something like that. And I'll maybe make sense some Indian thrown. And I'm just gonna put this across the top. Everything still at least damp. Nothing has dried. So I'll pull that down a little bit. So what my area is strongest contrast and be here. Now, I want to lift up some of that. So I'm going to just take a tissue and tap this little part in there to create some sort of cloud shapes. And what this city softer and more water there. I can lift more. So there you go. I like the texture this makes, so it's kinda fun to do, to get some texture to. Now this is just too boring to me. Let's put in some more color and make it go across and don't want as much contrast in this area is over in here. So that's kinda why I went over that area. Now let's do the tissues again and just pick up a little bit of those edges. And what this does is it picks up the water there and it sort of keeps the paint from moving into that space. And it does create this sort of fluffy looking effect. Now I do want the top to be a little darker, so I will bring in a little bit of this in a drone balloon. Just to darken up that cobalt. Not as strong as it was at our focal point area. And notice I'm just going to arch it, just, just have it go down a little further on the corners. Bringing a little shadow area. There we go. And then we'll go back to my tissue. So now I'm doing this process of adding and removing paint. You can make will make it more complicated than that, but you will have to. That's the thing. It could be really pretty without being super-complicated. Else looking nice. Now, I'm going to keep working even though this is wet because I don't mind the effects of Bloom's and pushing the pain around. I actually think that's a really nice. And so if you don't like that, then I suggest that you wait at this stage, you let it dry. And it's as I'm talking, I'm just putting more paint and water in their disorder to find that edge and let that flow down a little bit. I don't know. I just thought that was nice. It nice. Edge there. I don't want to be like solid there. And also don't want this like see I have the straight line across here, I don't want that. So let's pull that down even a little bit more. And we'll put in more of this cobalt because I don't want it to be quite so. Indians Roni wanted to be more cobalt d. And this also soften and bring in my tissue to create some shape there. As part of this is just like just too much for a straight line. I want to be more naturally looking. Ok, I'm getting a little fiddly, so I'm going to stop doing that section. I do want to bring in some more of this dark on the water to create like reflection. As I said, you may want to let your painting dry first. Totally up to you going over that little white area. Alright. So you can use a smaller brush here if you want to really create some contrast there. Do a little tapping spy horizon line where my island with the edge at least of the water. So I just want to create even more contrast here and I'm using that really deep dark blue to do that. There's something going on there like that. Alright. Maybe a tiny bit more dark over here, but not too much. I don't want this to have as much weight. But you need to balance out the weight of the other side. And I can tip this a little. Kinda wanna just pull this out and little. That's pretty cool. So I will stop now. And I feel like this painting is done. It's a nice abstract landscape. It's got some texture. It's got some fun effects like these blooms down here from the drops. It's raining here you may be able to hear the thunder. And it has some interesting shapes here. Our focal point, which is the area with the most contrast. It's got some nice movement. These white areas are not distracting. They're interesting, but they're not distracting because there's such a strong contrast here. So there we go. I'm going to call this painting finished and I'm gonna do another painting for you. 11. Large Landscape 2 - Part 1: For this painting, I am going to push myself a little bit further to be a little bit looser and more expressive. And one way I'm going to do that is to use this dagger brush. So I talked about this dagger brush in the supply video, but it has these very interesting long bristles and it's very, and it's a lot of fun. And so I'm just going to try and loosen up and paint with it. And we'll see what happens. Again, I'm using whatever colors I want. I think this time I want to use this TOO, because one knot and I want to put my horizon line on the bottom this time. So I'm just going to push this paint along. Now I am not making a beach this time. I don't think I am at least it looks like it from the star though, doesn't it? Wants just put this here and create some interesting shapes. And there we go. I got some green, yellow, green. Drop it right in there. And just have fun. Okay, so this brush really encourages you to loosen up. And so I don't know where this is going. But I hope it's interesting. When I'm finished. They use more of that really pretty color. Still keeping in mind that composition. Now you can use a regular broad she don't have to use this dagger Rosch, or it's also called a sword brush. But it's just a lot of fun. You could use a fan brush if you want to put yourself that way. Get a warmer green here. I was spending my focal point here, but there's a line makes it look like it's going here. So maybe I will, I don't know yet, or maybe I'll just work on that some more to create more lines. Interest. I don't know. I just want to play a little bit and see what happens. Dropping drops of water to create texture. And we'll let that run down. Trout are water and let that run down. I'm just gonna see what happens. All right. Go for more of that yellow curry, maybe even some yellow ochre makes with that green. I guess I'm going for like over here being the focal point. See what happens. I wanted to put this here. Ooh, look at that. What's some gorgeous color? I don't know. We'll see what happens if I bring in some brownish colors here. Like I said, this nature of this brush really makes you loosen up. So let me just add water. Let's bring in some yellow. Let's bring in some warm yellow. Now I'm just letting all that run and play together. These colors are just playing together. Let's bring in some of this spring on some Alizarin crimson there arose manner and be pretty look at that. It's too dark, I think So. It's this it does have one water, so no width that is distracting to the I. Now everything is essentially everything is wet. I like where it's going now since it's so wet, that color is really going to be diluted. So I want to think about that. What are colors do dry lighter, and bring in maybe some stronger colors. Now how that's gonna work out in the end, I don't know for sure. But it's fun to try it. Bring in more of this blue-green. Viridian. Let's see, we were using that yellow-green was looking pretty nice. It's pretty vibrant green there. Let's just bring in some of that. So, so really soft looking, I have a puddle here. So let's just pick up a little bit of that water. That tissue is still go back and put anymore. I'm liking this mix of colors with this pink or this soft yellow. That's really pretty. And I think I want a turquoise sky. Can we have a turquoise sky? Oh, yes, we can because it's our painting and we're the boss of it. But let's bring in some other colors in a turquoise guide to how about let's bring in that cobalt in there. Cobalt and turquoise. Really pretty. And I'm just going to run down. I have one dry area here, thinking I might leave it that way. And putting in more of that to colors I was using, right? The cobalt and the cobalt, cobalt blue and cobalt turquoise. So this kind of looks rainy, like it. We don't want to soften this. So sort of picking that up a little bit to soften that edge a little. Love these colors. They wouldn't want to do is strengthen this Alizarin crimson here. Because I liked the effect it's having and I feel like it's kind of breaking some interesting interesting things going on with it. Come on, do that strengthen a little bit. I also really love what this yellow is doing, so I'm going to try and bring in more of it. So I column with thicker mixture. You can see that on my palette is pretty thick. So I'm just going to bring that in here. Bringing across maybe brand in there. So create sort of an orange color. Okay? Oh, yes, it is. So it's kinda like a cloudy effect. We've got going on here. I do. I get splitted like it's software, so I'll lift a little bit of that. Lift a little bit of this. It's really pretty coral, Coral kinda color. Now decide they don't want this to be soft, so we'll just go ahead and soften that. And like that, go into the area. So everything here is moved. Everything except this little areas dry. All of this is maybe so if I drop some little drops of water that are kind of big, but just get some interesting texture going on here. I could use sopped and thinking about doing here. So what if we just put like a little, this is all experimental case you couldn't tell, I'm just experimenting now. This would be very interesting. It's the salt will do nothing here where this is drawn and create some interest here in this area. And this is kind of my focal area are worked out to be my focal area. And I'll put quite a bit more there. Alright, I'm loving these colors. Right now. Everything is just very soft and undefined. So I'm going to let this dry and then I'll come back. We'll do a second layer and finish it. 12. Large Landscape 2 - Part 2: Okay, so I have removed the salt, just brush it off and it's created this beautiful texture and wickedness, colorful salt. This just came from here, picked up all those different colors that's just wanted to share. That was fun. Okay, so thinking about abstract landscape, and this one is a little different in that I have this sort of row of texture and I think it's be really pretty kinda turning into flowers. Not no definite perfect flowers, but just flowers. And so I'm just going to pick up my round brush, the one that doesn't hold too much water. And I've squeezed out some squash and we get that going and I want it to be too watery, but same time. I don't want it to be too thick. So an ADD water in there. Get that moving a little bit. I'm just going to bring out some of the color of what could be flowers. And like you said, it's just abstract so it doesn't have to be like perfect kinda thing. In fact, I definitely don't want it to be perfect, but I just want to bring out a few of those shapes. And I'm putting it right in those textured areas. Just to create some interests. And I'll just work across here. And I'll add a little more water to my rush so that this is thinner and it'll be less opaque. And it won't show as much contrast. And I'm going to make it smaller as I go. And just add some little spots of White. Said now this has more water so it'll show up less once it's dry. Just kind of go with the flow here. So maybe we just have some interesting little flowers and I'm just making little sort of superbly shapes in there. And you wouldn't have to do this, but it's just, you know, fun. And then I'm going to do some splatter. So everything is dry noun. So spotters will not spread out. You just want a few little spiders in there. This brush doesn't splatter everywhere. The fan brush bladders everywhere. You want more squatter, spatters, butter. Then you could always use the fan brush and the less paint on it, then the smaller this ladders. Alright, so that's pretty cool. Now what I wanna do is add some yellow to just make those flowers yellowy. Or maybe there'll be symp the center. And if it runs into the white a little bit, I'm okay with that. So I'm just going to just tap in like some little yellow dots. And there, just to convey the idea that there are flowers, like it doesn't even have to be, you know, that distinctive theory a little bit down here. Now this is transparent. That is, I did not think Washington it so if it's another color underneath is going to show that color. Maybe I'll do a little bit of, a little bit of inspiring of that yellow is I think it's like how it looks like my green there. Think it's pretty interesting. A little bit up here. Tiny bit there. Okay. Stop there. Now what I want to do I think is like I have this. This could be flowers are bushes. And the question is, do I want to just add some stems to just create some interests? There is nothing I could do is define this. Like originally this was my horizon line, right? But now I feel like it's more in the foreground and this could be the horizon line. So I could define that more. But this is an abstract landscapes, so I don't have to do any of that. I like this little clump of flowers here. Could be a Bush, could be just flowers. Maybe we'll also do some of that. Goes ram Crimson. A little bit of flattering of that needs to be more watery. Not quite as saturated I think I'm doing is just creating a little more interest in texture right along this line where I have the texture. That's the goal here. I have a couple drops escapes. I'll just clean my brush, dry in the little pick that write-up. It's okay if they're there, especially in this area and kind of like that they're there. I don't want them to be quiet so dark and defined. Some tapping those out a little bit. Okay, now that's pretty fun. Little bit ideas dim and just going to do that with this dagger brush. But you could use a tiny brush or rigor. Can use a small branch or rigor, few one to two. I want the stems to be a dark green. I think. We're just going to repeat. Do I really want them to do the stems? I kind of do and I'm kind of doubt. So maybe just a little bit. Using the very tip that rush. I think I could just do like a dry brush fit here. Yeah, let me get this in. I'll just do some dry brush here to just create some texture like that. Could do that with a round brush. You can do that with the rigor. You still want your brush to be too wet, so tap it off a little. So just using the side of it just to create some texture and interests there. And then those stems. You can use that tip there too to create. You could use a fan brush for this also. You'd wanna use the side of the fan brush. I'm gonna do a little more of this, tapping this green. One more yellow, green, more lying that more lime green color that we're using? Not that sort of I don't know. It's more natural but almost murky. Little bit of tapping here. Wet areas, it will spread out a little bit of tapping the green here. Because I think it's interesting. So I think that's really nice. Let's a little over powering. Those are a little overpowering, so just take those out. Yeah, I really like I feel like there's this big bunch of flowers they are, they're really pretty nice. I think I'll work on the sky a little bit. I'm gonna try not to mess with it too much though, because I don't wanna go overboard. So I'll go back to mine using the same colors. But this time maybe I'll use the tissue to pick some of it up. So this may re wet a little bit because it is watercolour and I'm okay with that. So if you're not, don't do this, okay. Get that cobalt also. Cobalt blue. Cobalt turquoise. And this cobalt and cobalt blue. And then let me just put I'm just adding water. They'll if there's still something going on in the background there and I like it because I feel like it makes those flowers like they're not alone in the world. And that water, more of that cobalt really pop up that color. I'd love this combination and this is really pretty combination. Put more of that in here. Maybe work on creating a little bit of cloudy shapes. So now just water. And I'll go back with my tissue and pick up some of this. Let it run down a little bit, a little pick up some. It's still going to have that color underneath, right? This is just going to give me less of a solid line input. More water creates some sort of cloudy shapes to lift. So I am lifting quite a bit with this ellipse and creating those cloud shapes. So it's actually pretty fun to do. The harder I press, the more I pick up more of the water and pick up the more people will be drawn. That's a little bit more interesting. Little more interesting in the sky. Think I'll bring back in a little bit more and block a little bit thicker there. And then I'm just going to again highlight some of these little areas. So use the tip of my brush. So what I'm doing is just creating more contrast in my focal point area. And since I'm going with these flowers in this landscape, this will do it. They decided they were white flowers. I really liked the salt texture they want was created. That was so much fun and gave me a really good jumping off point for this. It's not wet snow gonna move very much. And I think that's pretty interesting. And I think that's pretty landscaping. Alright? And it's fairly abstract. So I think that we have a good mix, have a landscape idea and an abstract idea. So I'm just going to stop there. 13. Simplified Abstract Landscape Examples: Ok, my friends, let's take a look at some simplified abstract landscape examples. I hope this little slideshow will inspire you and get you to start painting. 14. Project & Thank You: Thank you so much for joining me for simplified abstract landscapes. I hope you've enjoyed this class. You've learned something and it's kind of taken the pressure off for you to create. So for your project, I would suggest that you just do some paintings practice what you've been learning about composition and about landscapes. So try out the five-minute mini landscapes. Even if you're not a beginner, It's a great way to start and sort of loosen up and get going. Then continue on and paint some larger paintings. Really explore and push your skills and see how far you can go. As always, feel free to ask them questions and I'll do my best to answer and thank you so much for your comments and your kind reviews. I really appreciate it. Thank you for being my student. I'll see you in class.