Springtime Watercolor Landscape | Amy Earls | Skillshare

Playback Speed

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

Springtime Watercolor Landscape

teacher avatar Amy Earls, Watercolor Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

7 Lessons (1h 32m)
    • 1. Introduction

    • 2. Color Mixing: Purples

    • 3. Getting Started

    • 4. Sketching Demo

    • 5. Painting Demo Part I

    • 6. Painting Demo Part II

    • 7. Final Details

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

Community Generated

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





About This Class

In this class, I guide you through my creative process for painting a springtime landscape in watercolor. Our subject will be a woodland path through the bluebells. The video content covers everything from the underdrawing all the way through to the final touches, with each segment accompanied by a detailed voice-over. Please Note: This is a slower-paced intermediate to advanced level class, with much of the video being shown in real-time. I do not go in-depth into materials and also expect students to have some prior understanding of watercolor painting. As a bonus, I included an extra video with some tips on how to mix your own purples. Much of the course content discusses basic landscape techniques, composition, and how to create depth in your work. I hope you will come paint along with me!


Meet Your Teacher

Teacher Profile Image

Amy Earls

Watercolor Artist



Please allow me to introduce myself. My name is Amy L. Earls. I am a watercolor artist and Skillshare teacher with over 20 years of experience in drawing and painting. I am most inspired by natural subjects such as landscapes, birds, and other animals.

A few things about me. I love coffee, almond milk lattes from my local coffee shop are the best! I have a soft spot for anything cute and furry, especially cats. If I could be doing anything other than making art it would be riding horses. Also, I am just a teensy bit obsessed with color. Red is my favorite!

Art and making things have always been a part of who I am. I started drawing when I was 18 months old. I did not go to art school for college, instead, I have bachelor degrees in General Studies and Gr... See full profile

Class Ratings

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

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

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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


1. Introduction: Hello and welcome. My name is Amy, and I'm a watercolor artist with over 20 years of experience in drawing and painting. In this class, I will take you through my process for painting a little springtime landscape in watercolor. While I will cover each step of the painting process, the instruction level assumes you have some prior painting experience and understanding of watercolor. Naturally, all students are welcome, but I would recommend this class for intermediate skill levels. I would also like to mention that this class moves at a slower pace than some of my other classes, and it features a lot of real-time footage. We will begin with colour mixing and then move on to ways to create depth in landscapes, then touch on a bit of composition and design. And lastly, worked through the painting process itself. If that sounds appealing to you, I hope you will join me in the class. Thanks so much and happy painting. 2. Color Mixing: Purples: So I wanted to do a quick lesson, demo, talk and whatever you wanna call it, about mixing purples and the colors I've chosen in this palette are specifically built around mixing our own purples. And these are kinds of things that you can use later on. I've this color palette. While it is built around our subject matter, it's also built for mixing purples because we want to be able to control the colors and not just be stuck with what comes to us in the pan, especially in your typical palette that has like a red and a blue. So for this, and in just in general, we want to think CMYK, which is Cerulean, magenta, and yellow rather than red, yellow, blue. Because you cannot mix a purple. You cannot make a lighter lavender shade of purple using read it, it ends up being a deeper, kind of muddy or Purple and not really what we're going for for this particular purpose. Okay? So I put this little palette together just for doing this demo and I kind of wanted to do that just so there wasn't any confusion with a lot of other colors in the palette because my palette that I use on a regular basis has over 30 colors in it. And I felt like all of that extra stuff is kind of distracting. So this color palette that I'm gonna be using has ten colors. It has magenta from Windsor and Newton, 11 data from Roman SysML Aquarius, Cerulean Blue from Windsor and Newton. Cobalt blue from Daniel Smith, hookers Green from Windsor and Newton. Green gold from Windsor and Newton. Lemon yellow from my White Nights sit to Saint Petersburg, Russia, brand of watercolor. And then Naples yellow, yellow ochre and sepia, all from Winsor Newton. And those just happen to be the ones that I have. Any brand is fine. So don't get caught up on brand. Doesn't have to be Daniel Smith or Somalia or whatever, just use what you have on hand. So, so back to CMYK in order makes a good purple. You have to have a pink. And I haven't old set here. This is an old Royal talents set. This is a student grade watercolors set that I got when I was a kid growing up. But you can see it has kind of some of your standard colors. These pans are really bold and dry it out and we'll see if we can revive them. But I thought this would be a good example of how you really can't mix a good purple and you won't see what I mean until. I start, so let's grab some of this red. I'm assuming this is Alizarin crimson, although I really don't know. I'm just going to lay some of that down. Clean the brush. And I don't know what these colors are exactly. That looks purple to me already. So maybe we shouldn't use that one. But let's try this. This looks like cobalt. I really don't know what these colors are. So this is just kind of a crap shoot. More roads and more blue. Can tell that these colors are not super saturated. But I think fine for like a beginner set, okay, so that's about what you get. If you mix red and blue, you get this kind of warm or purple or kind of a desaturated purple. But what we want, we want a true purple. So in order to get that you need something like a quinacridone pain. This is permanent rose, magenta. Any of those things will work, but it needs to be pink, not red. So this'll be a good comparison because it's pretty much the same blue crabs, magenta. You're gonna see that the color is very different. It's much more vibrant. And it's a lot more of what you would expect from like a purple animal cans. So for example, this is dioxazine violet. So that's a pre-made purple. And I feel like this, while it is a little bit washed out, you can fix that. It's much closer to this than that. So if that puts it in perspective, this is a thing about this, is that we can kinda shift. We can shift our purple, we can make it more blue, or we can make it more pink, which is really nice. Because then you can control like the temperature of the color and help to create depth and shadows. And maybe where sunlight is falling where or versus where it's not. There's a lot of things, but being able to control the temperature of your pigment is an important part of learning color mixing. So I hope that that helps. Now. For this, I plan to use a combination of things. Now this I'm switching over to Cerulean. And certainly in is depends on the company. It can be similar to cobalt, but it's different. And it makes a slightly different purple. And I like this because I feel like it's a really nice light lavender. And you never gonna get this color with the red. It's just not gonna happen. Not, not, not. So lets, for comparison here, let me do Cerulean with this red that we used earlier, which is most read. Don't get me wrong. But look what's happening. When we mix those. It's, it's muddy. It's not it's not making a nice color. I mean, to my I for this purpose, I'm sure there is something that is that exact color and there's nothing wrong with any color, just in general. But again, I'm not going to get this using that. And just as a side note, which I forgot to say before, Pink is not a color you can mix in watercolour. It's not like in acrylic or you can take a read and mix it with white and make pink. In watercolor, you have to start with a pink pigment. So red does not equate pink in watercolor. And that's why we're going to try to shift our mindset to the CMYK or just CMY kind of approach. 3. Getting Started: So we're back. We've gone through our color mixing. And I've talked a little bit about carpals and why we need a pink for this project in particular, and for mixing purples. These are a couple of examples of the piece that we're going to do for this demo. I definitely want to lean more in this direction where you can kind of see that the middle ground here is lighter. Then here under the trees because we're kind of coming out of the shadows into the light. So we want, we want to make sure that we keep this part of the painting. Kind of lighter value range and then have more mid tones coming up from the bottom and then in the far distant treeline. So we kind of want to make sure we have our lights. You know, the sky is going to be lighter. This middle ground is going to be lighter. And the path. And then we kinda want almost like this is shadowed, although we're not going to, I'm not going to particularly be painting shadows falling over it just in the way that we mix our colors and the colors that we use. We want this to be brighter. And having this lighter than this can helps convey to the I that there's a recession in space. And that is, one of the things about painting landscapes is that you want your most distant objects to be lighter in value and also less saturated. So as we go back, let's say if we had mountains in here, we would want them to be even more kind of washed out just because it helps create that sense depth. This path also helps create a sense of depth and leads your eye into the piece. The other thing is the layering here. And this tree really ought to be done lower. But we'll get to that in a minute. Having the branch of this tree cross over this one, but me behind the one closest to us also helps create that illusion of depth. So just a few things to keep in mind as we get started here. I'm going to set these aside. Thinking, sit over here with a little key. Who I just have because it makes me happy. This is a pre-cut piece of arches, a 140 pound cold press from one of their loose leaf pads. I just cut it to size. This is I don't know if I said this already five by seven just because I've also cropped my image to five by seven. And by doing that, it really helps with relative placement and scale of things. I'd also like to have a spare scrap piece of paper. This is for testing colors and also testing value. Before I put it down, I want to make sure that it's not too dark or not too late. So it's always good to have just a few pieces of scrap around. I'm going to tape my paper down. And that will keep our paper from warping. And they'll washing tape, older, white because they don't want the color of the tape to influence what's happening. Quick tip about taping paper down. We're not actually stretching the paper. I want to emphasize that stretching the paper is a completely different process. It involves wedding the paper like actually soaking the paper. We're not doing that, not stretching. But it is important that when you put the tape down, you want to do the side opposite. And then the other sides doesn't really matter what order are where you start, but you, wherever you start, you wanna do the opposite side. Just to kind of keep the tension across the paper. Even. I'm not going to go into every material that I'm using. I am going to operate under the assumption that you have painted before and that you have a basic understanding of watercolor and the materials that you need to paint. I have got here few of these prisoner color colon raise pencils. And then my pencil that I normally use for sketching is this one. This is a PRISMA color, turquoise to H, and that is pretty much my go-to pencil 99% of the time. Sometimes for watercolor, It is nice though to use like a watercolor pencil because then your pencil lines kind of melt into the piece as you're going or something like these, which is, can be used very lightly, but honestly, just use whatever pencil you want. It's really not important. 4. Sketching Demo: Start with this guy. So I have my reference photo here. And the first thing I'm going to do is kind of lay out some proportions about where I want, where do I want the horizon line to fall? Where do I want to place the trees? And I like to adjust things slightly from the, from the photos to make them more compositionally sound. The one that I go back to you and use the most often is just the rule of thirds, which is a really simple one. And that way you kind of just make your main points of interests fall on thirds. And so I'm just going to kind of mark the tape, not the paper itself. Just very roughly place some thirds and I'm eyeballing this so it could be maybe a little off. Yeah. That looks pretty good. All right. So now I have my very rough thirds marked and like I said, they don't have to be perfect if you want, you can measure it and make them exact, but it's not necessary. So let's see, I do not want any, Well, for me, working with these compositional rules, I don't really want any major lines to fall directly in the middle. Like I don't want exactly half sky and exactly half ground. I want to kind of mix that up, break that up. This photo is already very foreground heavy. So I think what we're gonna do is I want my tree line to fall right about here. And this is a little difficult for me because the sun is shining in my face and I can't really see. But we're going to throw that in there. And we're gonna put in the base of the tree treeline. And I'm trying to keep this straight, but normally, if I was doing this without a camera, I would tell this. And I would work at an angle. You know what I'm gonna do that? You want to work at an angle where your arm can move comfortably. You not want to be trying to draw in an uncomfortable, unnatural position. Alright? And then right about here we've got, I'm going to shift it over slightly. They've got this hill that's leading down this little swoop and kind of a road that I don't know if it's a road or path comes across. I'm just trying to very, very lightly sketch this. You do not have to sketch, by the way, if you just wanna go direct with watercolor, you can completely skip this part. And I'm just trying to give myself some kind of basic lines to follow. And I'm getting a little confused. Okay, let's turn this back. Now. We've got a big tree. And see. We got one 2y grass kind of in the middle ground and a bit of a hill or what I'm interpreting as a Hill and I'm gonna just accentuated because why not? And then I've had any kind of goes off, goes off here to the side or flowers that kinda overhead. Alright. I don't really know what I wanna do with that. You could shift the whole path over a bit or change, change the way that it appears so that it's more on this thirds. So let's pay attention to that and put it, flew it over a little bit. So a race a little bit here. And this is where the design element of a painting comes in. You don't have to copy your reference photo. Like to the letter. This is this is creative license. This is your interpretation. This is y. R is still needed and we don't just only have photographs because you can make it what you want it to be, rather than just kind of taking it at the base value. Okay? So I think I want, thank, I want that one. The far this tree to fall right on this line. It needs to come down to about there. It gets a little wider at the bottom. See, this is why I end up doing English because my pencil lines or so lets the word messy. Messy sketcher. So then to clean up my lines. Why do ink? But I'm not gonna do this time. Okay. And then I'm going to leave a little more space, I think. But I want the tree next to it to come down here. And this tree is not perfectly straight. It's kind of wonky here in there. If you want your trees, so look more realistic. Don't make them perfectly street. Trees are not perfect. The're twisted. They grow, seeking the sunlight. And they are totally products of their environment. Now, there's a lot of like Twinkie things happening. No, really have to do all of them. Maybe one or two, just to kind of add some interest. And then I've got our other tree over here, which is very much off to the side, but it needs to be between these two, the base of it. So let's put it like this tree is a bit more interesting. It's kinda Nabi naughty. Not just kinda like a stick. Leans back a little bit like that. And let's okay. So here's a branch comes across and we don't have to put it where it falls in the photo. We should put it where we think it looks the best. Wu Sun just went behind the cloud. Can probably tell to Scott really dark in here. And I hope that that doesn't mess with the video. And you can see what I, what I meant about OK, tree. There are a few branches that come off this way. But we don't want too much of the attention to be leading AI off of the page. We want the attention to be pulled towards the center. So let's see where do I want my branches to fall? Like I said, I'm not going to put them necessarily where they fall in the photo. Just kinda, kinda put them in a place that I think looks good and helps. So I feel like maybe here because it's about a third of this space. And again, just like with your trunks, don't don't make your branches to perfectly straight. Because they're not, right. Nothing in nature is like, well, especially with plants. Nothing is perfect. Let's see. There's another one coming out here. And it's all weird like that. And I don't think I probably haven't done imperfectly, but does not be perfect. And that's, that's part of the whole shebang here is that there is an Like there's no perfect. It's just a tree growing. And I'm not replicating it perfectly. The point though, is to help create some depth between the trees and push this tree back by crossing over it. And I think we've done, we've done a good job of that. And then there's a lot of branches coming out. I'm not going to draw that many. I think maybe I'll throw in something like this and consolidate. There's three branches here in the photo. I'm gonna just consolidate them all into the one. Ok. I think that that's pretty good. This is a lot. This is a pretty detailed sketch for me. For, you know, something like this. Normally, I just kinda jump in. But I wanted to have some more structure and I wanted to talk through what I'm thinking as I'm doing it because there's a lot that happens in my head and doesn't really end up on the paper. Which may not necessarily be obvious to everyone. 5. Painting Demo Part I: Okay, so I've got my little tester sheet here. And I'm going to start at the top and kind of work my way back and forth to the bottom. I don't always do that, but it is important to consider the order of your layers. I made a few little adjustments to the tree while we were off camera. Alright, so the first thing, too wet or paint, so I'm just going to put little bead MOOC water in all of the pans. You could you could do this with a spray bottle just to get them ready to go. And then I'm going to wet down sky area because I want a nice smooth wash. You couldn't use masking fluid to mask off the trees if you wanted to. At this point, I don't feel it's really necessary that would make it easier for sure. But I don't think it's super necessary. And I just don't want to add more steps to this and I kind of keep it as easy as possible. I'm using a size six series 40 to Rosemary ENCO, sable blend designer, round brush. Okay. So we've got our sky, it's wet. And my reference photo, This guy is just kind of like a plain grey. So what's mix? A gray. Grab my entire pan around cold. And usually I would use burnt sienna. But for the sake of making a more concise palate, can you guys see what I'm doing? Yes. I decided to stick with Serbia or sepia, not leisure. Now remember the correct pronunciation. So that's a pretty good grey. It's a little dark. So I'm gonna grab some water, more water. And I'm going to kind of make some clouds because I don't just want a plain sky. And you can kind of do whatever you want with the sky. You don't have to follow your reference photo. Okay, even add some glue in places. Maybe we're not really up to you. Because remember, this is your painting and you can make it however you want. Some just working wet in wet here. And I think I want a little more detail here, my sky and add some more of this darker mix. I don't want it to be too dark using a dry brush. So lift. That's pretty good. I don't want my sky to be too dark because we're going to layer these branches over it. At the same time. I don't want it to be too boring. I'm making this up as I go along. I think that that's fine. I'm going to leave it there and move on to the next part. So because this is touching the trees here, I'm going to skip that line for now and move to the middle ground, which is green. And we're looking at kind of like a washed-out green. I'm going to grab Hooker screen. And this is going to dilute it a bit. And let's see how that looks. Is looking pretty stereotypically green. A little boring. Can use that if you want. Sad in a touch of CPR. I'm gonna go with that. Okay? So for this middle layer, and I really want to make sure that my values are not too dark for this. This may be too dark and I may have to adjust it. It's always better to err on the side of going later because you can always dark in it. It's trying to get that back. Is that it's really difficult, especially if it's a large wash rinsing my brush. And I'm just kinda pulling the color I already put down on the paper. Down a little bit more. So painting around these trees a little bit of a nuisance. Grabbing a little more hunger's green. Just want to touch a little more color and a few spots. Okay. This side over here is yellow. So I'm gonna leave that for now. I'm going to grab my green gold and I'm going to mix that with the hookers can move. And this makes this really lush, vibrant color that I like for these middle ground area. Mirror but still Middleground area. And try and paint somewhat carefully around these trees. Whoops. I spoke too soon. Okay. Cleaner brush-up bit. Just going to kind of give this moreover textured edge. You could have done this. I could've painted it kinda more. Div Dag every kind of a way. I don't want it to just look like stripes, trying to create a little texture here. Because this is grass and it should look somewhat irregular. I'm gonna go back to my hookers and green gold mix. And I'm going to start painting in some of the grass here in the foreground. Just kinda making some debri, works. I want to create texture. But I wanted to be kind of random. And I'm not putting a lot of thought into these marks. I'm just kinda going for it. I want them to look organic and natural. Ok. A little bit of this Greene County here too. But I mean, just kind of take inspiration from the reference. We don't have to follow it exactly. And just trying to establish some areas of green in here. Okay. It looks like this dried. So we can come back and work on our distant trees, which are kind of a green Lu. Lu will also make them cooler and therefore recede a bit into the distance. So we're going to mix some hookers green with the touch of cobalt menial at all. Sepia. And that's pretty good. You need a little bit of green gold just to give it a little more life. And I'm going to add some water because I don't want it to be too dark. Now, here we want to keep this top edge really kind of random. Because this is going to look, we're thinking trees here, thinking wall of trees. And it's a little tricky painting in between these guys here, but definitely don't want this to just be a flat. Line. Now we wanna keep our values in mind. These trees, while they are the farthest away, they are also darker in value than this middle ground kind of field area. So we just want to make sure that the value that we've chosen conveys the right depth b bits. Okay, I'm not really sure that I'm happy with this. Color. Grabbing some cobalt, dropping, true drops and darker color in along the bees to create shadows. It's a little too wet right now, so it's not really staying where I put it. Okay. So mixed up some more more pigment, less water. And I'm working wet in wet again here to create what looks like distant shadows. That's what we're going for here. And distant shadows. Listen tree line. And by adding darkness along them bottom, grabbing some sepia, whoa, wait too much. Turn, make a dark green here. It's probably way too dark. But a few touches won't hurt. And by doing this when it's wet, you can really kind of get some more starting to dry here. Kind of natural softening, coming back in with a very neutral brush. And just kind of manipulating that a little bit. Okay, that's good. We don't want to put too much detail. These are distant trees after all, and that's not where the focus is supposed to be. Ok. So let's circle back around. I am going to grab some lemon yellow this time. I'm going to grab a tertiary green gold and drop some of this name here. This is like the sunlight hitting the tops of this grassy field. And because he just painted those trees, I'm going to try and leave a little bit of a gap. There. But it's okay if things touch sometimes the weeds look nice. So don't worry too much as long as you don't have puddles of color. And I'm going to grab a little bit more. Pigment is this green gold, and just give a shadow here at the top where the trees would be and then at the bottom of this hill. Ok. So there's a lot of greens and I'm like shaking the whole world here. Lot of greens. Let's go back to green, gold, whoa, too much. And are hookers Green? And this is like really vibrant, grassy green. I'm just gonna lay and some texture here and I'm just making like vertical. That little dip depths here too. You want to keep these marks not like perfectly vertical. They should go left and right and to the side, and up and up and down. Put in a little bit more this kind of a shadow here. So I'm growing just some straight hooker screen. Kind of trying to indicate a shadow here in the grass. And then we should repeat it here. Not using a lot of pigment, just a tiny bit. And we can drag some of that color up. Again. Training be random with the direction of our grass and not make it all one way or the other. Just looking at the reference. Softening out some edges here describes the clean, damp brush. Okay. Grabbing at Green again, you details here. Too much. If you wanna get really more organic marks, whoops. You can hold your brush from the end and then just kind of go crazy. They can help. Kind of loosen up. Your, your mark making. Don't add too much green yet. But I do kind of want the green to act as a framework for the purple that we're going to add next. I'm going to let this get your yellow middle area. Oop, see what happens if we add some more in there. It's a little better. Well, things don't always go to plan do they? Will add a few more details in the distant hills. For now I want to work this foreground area. So, okay, now I'm gonna grab some of this buttery Naples yellow, which is too buttery for this. So we want a teeny bit of suburbia and a lot of water because it's pretty opaque. And we want to start laying in this pathway. And this is one of those times where the direction of your brush stroke really helps to convey topography. The lay of the land here. Some kind of giving it a scoop, scooped feel. Because that's the five I'm getting. When I look at this, leaves the sign here, the path. And dry brush is also really great or stuff like this. Okay. And then I wanna grab my Naples, which is very similar. And also kind of buttery. Oops, too buttery. There we go. Water. Anyway, we want this color to create some shadows. And the path and maybe some kind of random marks because it looks like it's leaves. So we want to give a kind of some texture. And we can also come back when it's dry and add some really nice dry brush which will kind of add to it as well. But I just feel like makes sense or the edges to be dark, especially under these overhanging plants. Cool. Let that dry. Let's try our purple. And he's my little mouseY mouse and a switch. My water here is this water is already purple. But I'm crab, big glob of spirulina. And some mention till. And see what we get here. This is definitely going to be more of a blue, purple. So you're going to want more blue? A lot of blue, and a lot less pink. And I got too much here. Okay, let's try that. And then it's pretty good. And it's a little dark and tiny bit of water. Can always, can always go back. But making it lighter yet still t dark. Here we go. So I am just using the tip of my brush. And I'm just kind of trying to follow how these plants are growing. I still feel like this is kinda dark. And on the top we're painting positively. And then you want to think painting negatively when you get to the bottom. Because we want these stems to kind of create a grass line on the bottom. And one of the lovely things about this mix is that it wants to separate. So it all by itself creates granulation, variation in the pigment. And every time I go back to palette, I'm mixing it together again. Okay? So we want the flower is towards the front to be the lightest because they're closest to the light source, which is the sun coming from this field out here. So this is where we want our lights to be. There's someone here, but I have never seen blue bells in person. It's like on my bucket list is that it's like a weird thank I just really loved them. They look so magical. Too much, still too much. Too much south. Okay. Let me get a little more. Debbie here because these are closer to us. And so they can be bigger. Just taking a peek at the reference back, back and forth, just kind of checking where do I want to call it my colors? And so I'm picking up more pigment now. From the darker and whoa, we read too much. Patch. Will be afraid to add water. This is water color after all. And watercolour is meant to be used with liquid. Okay. So continuing my Duke dab hurries and try and make sure that the bottom edge is irregular as well. Just ensure there's something weird happening here. I think that looks pretty good. We could do some splatter, but not yet. Let's go to the trees because we haven't even touched those yet. The order I'm doing this in is kind of what's the word organic? Yes. It's just kind of what's making sense to me in the moment relative to what other areas of the painting are. Apologies for the siren went. So you don't want and we have to do this in this order. It's just kind of how it's working out for me this time. And I've painted this seen multiple times now and it's come up different every time. And I've painted it differently every time. And that's okay. You don't feel like you have to do exactly what I'm doing. A little yellow, lemon yellow in here. Just to kind of offer some color variation. 6. Painting Demo Part II: Trees. So let's see. So let's start with, I want green, gold and more green. I think that's good. So I've got kinda like a yellow ochre because so there's, there's light being reflected onto these trees. Just starting out with this kind of old and underlayer. And most of this, if not all of it is going to get covered up. But I kind of, I try to look and see what colors are shining through were, are the lightest. Alright, so let's grab some. And that 2R makes its ending up to, Whoa to Brown. For me. I want this to be a little more grey. Trees are generally not actually brown, like traditionally much more gray. Maybe wood is brown. But tree bark, it's very often not brown. Who? Sometimes it is, but a lot of times it's not. And so while these are still wet, I'm going to come in and just add some darks here. And this tree in particular, I don't wanna make it too dark because we want our other branches to cross over it. Having said, it's still should be fairly dark in value. It's just, I wanna pay attention to that and not make it too dark. This tree pretty dark, especially at the top. And then a little bit of a dry brush technique here to help create some texture. And seeing my brush and just suffering some of these edges and don't want to have a lot of hard edges just yet. Okay, I've let everything dry and I'm going to switch to a slightly smaller brush. Going to switch to a size four of the exact same series brush. And we're going to start working on some of these foreground details. Foreground being like this whole kind of front section with the trees. I'm gonna mix up some more grey. So for our gray, we had. Cobalt and Cynthia, I guess I know how to say that word. And I'm going to throw in a little bit of yellow ochre just to warm it up slightly. I think that looks pretty good. And I'm here at some point, actually probably right about now is a good time too. Hughes toothbrushes. So I'm wedding a second brush so I can clean brush. And I'm gonna use it to just soften edges and kind of push the pigment around on the paper. And that way we won't get any hard edges unless we want them. So think of a tree as a cylinder or a column. So you wanna make it look rounded. And so we definitely want some shadows on the edges. But since the light source is coming from out here, it's very possible that the center of the tree might be the darkest, because that might be the area that's farthest away from the light source. And I don't want to be afraid to put a lot of pigment kind of appear at the top. So clean, damp brush command again, just softening out some of those edges. And my picture is not loading. So I'm just kind of painting this based on what I remember, which is not always the best way to do it. Depends on what you're going for. Obviously, if you're trying to design something, then just kinda painting from memory or an impression is fine. And I'm gonna add a little bit of water for this tree in the background. And I'm probably not going to add to much more pigment to this tree because I want it. Be the lightest of the three trees. Probably need a little bit thicker pigment if I don't want it to move around as much. When where it can also be really great for trees. Because it can kinda add a very organic natural texture without you having to do anything. So if this dry, I can add some dry brush textures, which can help me create a feeling of bark. Let's see. Trying to be random. This tree, I don't want to do too much with it. Okay. They're getting a little flat on me. So probably and I don't want to make them too much darker. So I'm wondering now if I have kind of pushed it too much. We want to create a more dramatic shadow on the left side. Give it a little more dimension. Threes are generally very rough texture. I'm happy with that. Start in on this tree now. So I'm just dragging brush over the surface. It's pretty much dry. And that's where we're getting these rough textures. And a lot of that is the paper itself. So if you have a smoother paper, it's a little bit harder to make the dry brush textures. And I'm possible for sure, but you have to definitely control the pigment in your brush. This tree is Older Because it's bigger. So it would have like a rougher Burke texture has kind of a medium value because it's in between these two. And I've probably pushed it too dark already, to be honest. I'm really sure what I'm doing with that. Just try to throw in some branches and want to make sure that the tree is grounded and that there's not like, wait. Between it and the ground, like we're the flowers are. Okay. I think that that's pretty good. So now I'm going to do the branches. And couple of things about branches. One, obviously there's a shadow on the underside that we want to capture. And I'm going to try to use, try and use just the tip of the brush. I kind of want this to be darker and you get a thicker pigment, little bit thicker anyway. I wanted to flow nicely off the brush. And I'm twisting the brush in my palette to help it form out really nice point. And I'm going to hold my brush more vertically because I just want the tip of it. And then I'm kind of I'm gonna drag and then flick. Because the flicking motion will give a nice taper to the end of the branch, which we want. We want it to look like it gets skinnier as it goes out because that's what happens with trees. Is that the branches, our skinnier as you kind of progress up the tree. And the other thing that I've kind of learned, whoops, is, don't make them too. Street. Most of the time, trees do not have perfectly straight branches. And when occassionally you're going to find one that has like more straighter branches than, than others. But for the most part, tree branches are not straight. They are not even close to the street. And different trees have different growth patterns. And so their branches will take on different shapes. And we want to make sure we go behind this tree here that's closest to us as the viewer. And I am no master by any means at trees. I think to be really good at trees, you need to paint them a lot and you need to study them almost from a like. Botanist perspective. We at least need to master their forms and pay attention to the details of butter said how they grow and such. So again, I'm going to try and make this branch current curvy and wonky and obviously thinner towards the end. With that challenging sometimes, to be completely honest, it can be difficult to control the brush. To that degree. They come out a little there. Here so that it doesn't look weird. One little tip for doing stuff like this is things called tangent, tangent points. And I'm not talking about math, but like for example, I don't want to stop the branch exactly where it hits the tree line. It needs to either not touch it or crossover it. Because otherwise it kind of creates a place where your eye will get stuck. And we don't wanna do that. I don't want to make random places where your eye doesn't flow through the piece. Or like here, I feel like those are too close. So I should either cross them or do something. Whoops. Alright, and you don't need to go crazy with this. I feel like I put too many right there. Okay, so there's our branches. Oops, here we go. I'm going to make a little bit of a warmer Brown. My Naples. And there were some ways in just a few of these little it's it's hard to not want to add them everywhere. There was quite a few. These little trees growing no shrubbery is. And I kinda wanna reference them, but I don't want to paint every single bit. I think that that's more than adequate. What's next? So now that we've done the trees and the branches, I think really that all that's left is the path. And a few more darks in the grass and flowers. So let's come back and make a nice shadow color. This is going to mix everything and it doesn't really matter. I'm probably going to soften some of these beds off. So I'm thinking of the light is coming from out here. The back sides of these flowers are going to be dark. So I'm going to want a few darks in there. And probably in my Pass two. And I'm going to want some dry brush here as well. Actually like it just adds some nice texture. And I feel like the direction again of your brush mark really matters when you're doing this. Because it kind of conveys the lay of the land as it were. And if we make our brush mark, oh, let's say Really vertical, it's going to look weird. It would be dark green in here, coming from the sun. And the picture. I don't want to do too much because you don't want to obliterate. Like the lighter parts of the path fits in here. It's probably too much. This is just some Naples pretty dry out of the palette that was the sun is falling there and I don't want it to be really dark. So I'm just rinsing the brush, blotting, lifting. Okay, maybe a touch more here. I think. I'm going to call the path pretty much done. One more little swipe. The color quote, path is done. So now let's work on the flowers. Whenever we want to do. I want kind of a darker and darker shadow. So I'm gonna grab some cobalt. So originally our mix was magenta and similarly in, so I'm going to grab some cobol and mix it in to that. And that should give us a darker purple and a blue or purple. We wanted to be blue one because these flowers are blue, but also because we're talking about doing some shadows now. And we don't want to put this everywhere. But we want to think like the bottom and like the backside or the blossoms. And really what this does is it just creates dimension. It doesn't have to be perfectly realistic. It just is going to add some variety and kind of break up this beam just kind of a solid mass. It's difficult, but you want to try to be random, as random as possible with your marks and don't obliterate all of the lighter color that we put down before. Also, we want to lighten this as we move forward in the frame. So I'm adding water to dilute it down a bit. And I'm trying to make my marks a little bit smaller. All right, so I'm gonna grab some green gold. Just to change up the green's a little bit. And I'm now, I'm looking at my reference and I am looking at the direction that the stems are growing. And I'm not trying to copy them exactly, but I'm kind of taking inspiration from them. There's also like some little leaf patterns in here. So it doesn't all have to be the same kind of leaf texture. But think of it more as. You want the brush to create a kind of, it's kind of like a shorthand for what the plant actually looks like. And you don't wanna have to think about actually carefully painting every stem and leaf. Because at least for me that is just so arduous and painful. And we don't wanna do that. And some little darker shadows. So I am not like carefully drawing every little thing. I am just kind of approximating. And using. I'm using a brush that I know will give me the kind of organic, like naturally create the kind of marks that I want. Because otherwise it's just so much work. And yeah, you can paint every single one if that's what you wanna do. But for me, I don't wanna do that. Feel like that suit hard. Okay, so adding some lighter bits, we're moving forward again in the frame. So we want to make sure that our marks are not too dark. And really what I'm trying to do at this point is just make sure there's not too much white space. Whitespace is good, but we don't want too much of it because then it's just going to look like I forgot to pain there. And as we get farther away from the base, the less detail I need to worry about trying to capture. So just kind of dabbling around with a lighter green so I don't end up with too many white gaps. We do want some white because it kind of adds like sparkle and highlights and I think we need some shadows to, I started to add them here, but we need some more shadows, especially in places where we know would be darker. That green that I'm mixed up before. So I'll do it again. I don't really remember what colors are used, but it doesn't matter because having some variation is good. Don't want every green to be exactly the same. Let's not forget about this side. That's probably a bit dark or actually for up there. And seeing the brush. And I left a little water on the brush. So now I can pick up the start grew pigment again, but it's not gonna be as dark as it was. And I'm just thinking shadows again. Where would the shadows fall? And I'm also thinking, how can I differentiate kind of like one here or level from the next one? We need to add a few darks. Just a touch. Okay, that's looking pretty good. Now. I know some options. You can do some splatter here, but it needs to be controlled. And because of that, we would have to do some link paper masking, which means just taking a scrap piece of paper and tearing it to fit the areas where we don't want the spotter to go. For example, some splatter on the path might be nice, not necessary at all. If this was a field of flowers, I would 100% do splatter because it just makes it look like distant flowers, optional, there are leaves on these branches in the reference photo. You could make them brown. You could make them a pale, kind of a green. I think it looks, it'll look better if I put a few little pale green leaves on because this is supposed to be a spring seem. So mix, really pale wash here. This is a little bit of the green gold hookers and also some yellow ochre. And it's just a very pale green and added a good amount of water to it. And we're just going to do my little dib dab texture in a few places. We don't want it everywhere because it's just supposed to be spring, right? It's not supposed to be like a full, fully leaf tree that I think this will make it prettier. I have a few pale leaves here, again, trying to keep it fairly random. There's no real right and wrong. A little bit more. It's probably going to be slightly different. Again, that's okay. Varying your greens is good. You don't want everything to be exactly the same. Variation creates dimension. And think in springtime. So want too much here. Little touch, something darker there. And yes, it does kinda go over this other tree. 7. Final Details: Okay, I've decided I want to add some splatter. So I have these, which you can tell that I have used for splatter before. So we definitely don't wants water and sky, or probably in the mid, mid ground. So I'm gonna put this down here to protect that. And then I really think in this case, I only want it on the path. So let's find some pieces that just happened to fit roughly the shape of the path. It does not have to be perfect. And I don't think I want to, they're either, whoops. And I want to in a distant part of the path that link some more here. I think that's pretty good. And I'm just gonna do my dark brown. So in this case it's the set via just load up my brush. It wants to be pigmented but fluid enough that you're not gonna get that you're actually gonna get spotter to drop off. And then it was going to tap the brush on my finger. And you can kind of change the direction of it. And we'll do some Naples to the size of the brush impacts the size of the splatter. So if I have a big brush, I'm gonna get bigger splatter. If I have a smaller brush like this one, I'm gonna get fairly small. Squatter. Ok, now that we've made a mess everywhere. When somebody brush. And then we can take away or a little shields and see what we've got. And I think that that's perfect. Like it's small, it's right where I want it. It's in the foreground area where you're going to see more detail. I'm going to call that done. I really appreciate you guys being here. I hope you enjoy this video. I hope that it inspires you. And I hope that something that I've said has helped you in some way. Thank you so much and I will see you in the next one. Take care. Bye, bye.