Step By Step Watercolor Landscapes - Morning & Evening Scenes | Mandar Marathe | Skillshare

Step By Step Watercolor Landscapes - Morning & Evening Scenes

Mandar Marathe, Fine Artist, Sculptor, Illustrator, Designer

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3 Lessons (38m)
    • 1. Introduction

      0:52
    • 2. "Sun Beams" In Watercolor

      20:19
    • 3. "Evening Light" In Watercolor

      16:32

About This Class

Welcome to the class!

In this class, I am going to show you how I painted these two landscapes, step by step.

The first landscape is of early morning sunbeams and the second painting is an evening scene from the top of a hill.

I'll be showing you every brush stroke I make and every color that I mix for painting these two landscapes. I've used various peculiar watercolor techniques such as wet-in-wet, wet on dry, color lifting to create the effects which you see in the paintings.

I am also giving you the reference photos I have used so that you can paint your own versions of these landscapes.

If you love watercolors and love painting landscapes, you'll love this class.

So, let's get started!
Mandar

Transcripts

1. Introduction: Hi. Welcome to this class In this class I'm going to show you how I painted Thies to landscape step by step. This painting is an early morning scene with bright sun beams on The second painting is an evening seen from the top of the hill. My name is Mandel Morality on I'm a fine artist and sculptor while pending these I'll be showing you every breast Oh, that I make on every color that I mix. I've used various watercolor techniques such as wetting bed, wet on dry on color lifting to get the results which you see in these paintings. I'm also going to give you the reference photographs which I'm used for these paintings so that you can paint your own virgins off these landscapes. So if you love watercolors on love painting landscapes, you will love this class. So let's get started 2. "Sun Beams" In Watercolor: welcome to this video. In this video I'll be painting this painting based on this photograph exactly in the month of December in Goa. It was when? The time. So the sun was rising a bit late. It was about eight o'clock in the money on Die like the photograph so much with the Sunbeams clearly visible that I decided to make a printing based on it. So, as you can see, I've made a basic drawing on the paper. This is 1 30 gs, Um, more regular people. Onda. Now I'll be starting to paint it. I want the first layer tohave the background colors for only eight years in the painting. Hence I'm mixing or killing our a few of the colors with this. The 1st 1 at the bottom is pains green Andi in the top left corner is yellow card. I'm reading the area where I want the sunlight or the brightest part of the painting on laying in some yellow. OK, you can see that I'm laying in the brush strokes or I'm making the brushstrokes very loosely. There is no definite shape, which I want at this point of time. On slowly I'm grating towards the pains. Great Andi, Some blue for the sky. The sky here is not a new important part off the painting and sampling it really casually are not not a lot of color. Now I'm mixing a color, which is the pain scary basically on going in for the role. Insert our own so it has a blue tinge. Unlike any concrete rule, I'm lifting the extra water Watercolors become very light, has comfort what they are when there were. And so I'm having toe ad another earlier off yellow, which is I first applied the yellow girl. Now I have applied chrome, yellow or gambles. Um, I'm allowed this painting trying are these base colors to dry and I'm now living in some green for the please on the But I didn't say and now mixing are dark green for the victories. For this, I'm using Hooker's Green Queen's gree Andi fear to go make sure I'm loosely laying in the being must on the right and say, I'm purposely leaving few sky holds, and I'm holding the brush toward the end off the handle so that the brush strokes are very fluid. I'm using just the tip off the brush toe deposit color on the people. As I come towards the foreground, I'm increasing the thickness of the pain and making the color for dark. Also some burnt sienna for the madrone. Because I'm showing the photograph and also, though photograph off the final painting, you can see how the brushstrokes which I'm laying right now, are going to be seen in the final frame thing, a lighter green which has more yellow in it for the foliage on the left hand side on to create the effect of the Sunbeams, I'll be lifting color from this area when I'm so drink it first before I can lift the color . I want to have radiation in the green, so I'm adding different. Carlos, like pains green in some ideas in more quantity, whereas in some areas it's more yellow. We term. Introducing on this is the distant foliage which I'm seeing and the end of the role. I'm making sure that the color be trembling in for this foliage is very well, and like now comes the foliage on the far left here, the foliage in the middle of the pending vertically is going to be much more greener on Baylor, then at the bottom of these trees, where it is going to have much more darkness. I'm living some color from the top left corner. Andi, now dragging a red breast over the olive engine area to create the Sunbeams. I do not want the Sunbeam stole have that green color of on the road. Since I'm picking up an injury using glow or all the area, I'm using a flat 1.5 inch brush here. I'm first vetting the idea where I want toe lift the color on, then making the brush dry by wiping it and then dragging it over the 30 year so that the colors gets lifted up. I'm allowed this stage to dry completely on. Now I'm coming in with dark color for the three in the foreground. - I want these trees tohave on edge, which is not very sharp because off the bright sunlight, which has come coming just behind it so you can see what I'm doing because of my hand coming in between the view, I made the area vet slightly so that the dark color, which I apply, bleeds a bit to create a soft edge, and now I need very dark color. So I'm mixing Hooker's green on brain surgery, Andi aquatic consistency and creating the trees in the foreground. The drawing, which I'm had made earlier on the paper, is not visible to me like now, but I'm looking at the photograph on painting according Toe the ship which the tree has. This is the idea of depending, which has the highest contrast, and hence it's also the focal area on the many off interest. And so I'm using their darkest, dark Andi with very take consistency or this dry idea off like colors. Now I'm on a slightly lighter yellow for the foliage on which this and beams are falling on the left hand side. And so I'm picking up lighter green. But I I I'm picking up the color from this area to indicate the sun beans. So when I do, is I first Lien, who leads and then drying a brush over it, lissome born see? And now for the for around. This is the site of the role where some well, Silas visible. Now I want to show the shadow or the shadows on the good to make a think love for the role. And here are to keep in mind the direction of the sunlight or the angle at which the sunlike senior off the role is on where the shallow is falling. It's always good. Tohave are darker. Idea near the bottom of the Trinity As you don't mourn the viewers. Attention toe. Go out off the painting from there, and so dark and rolled were the bottom of the painting. Sing some green for the full ege in the top left corner. Again. Sorry, because you can't see the brush marks which are making because the hand is coming directly in the view. But today I'm making those. He leaves in the top left corner, darkening the redrants for more bunch some leaves which are in the sunlight. Direct sunlight. I'm painting those with light green color. No, I want O dark in a few of the areas on four years and the right we have to do some adjustments like this in the more the color because the color dries lighter than what it waas. The lesser you have do and just fresh air. Your bending looks, um, suggesting fuel returns on the right. Inside Baines Kitty. Use very think, darkening the shadows on the road. I'm going trying to create our son being I'm reading the area of the brush and lifting some color from with the use off paper doll. So this is our different technique with them playing Instead of lifting the color with the brush, I'm using a paper Doyle. Some clearance in the distance. No, it's almost. The painting is almost done. Andi, It's timeto remove the tape. So this is the moment of fruit when the painting gets, ah, natural border Andi and looks better than with the tape applied. So here's the painting. I hope you enjoyed watching this video on I'm including the Resource or the source photograph with this lecture on guy. Encourage you toe use this photograph and make a painting based on that. Thank you. 3. "Evening Light" In Watercolor: welcome to this video. In this video, I'll be painting in this painting, which is titled Evening Light. Based on this photograph, which I clicked on a hilltop near where I stay in pony. On this paper, I've made a rough drawing which gives me some landmarks off where each wash willing started in. Beyond that, I don't want to indicate anything very strongly. Now I'm starting with yellow car for the hi light in the sky and now I'm mixing a blue color using cobalt blue, some pain screen on applying it to the sky. I'm making sure that these two colors at least bleed into each other and then it just so it's necessary that this is painted wet in wet. Now I want to indicate distant mountains are land which is seen in the photograph. I don't want to paint the buildings, but I just want to indicate some landmass near the horizon. So I'm using Prussian blue to do that. I'm applying it on, and now I'm taking a bet for us without any color. Andi dragging it over the edge between the earlier applied sky blue Onda pollution blue so that they bleed into each other on create a very soft edge. Now I'm mixing a green, but I realize that I need toe paint the foreground before I can paint the bushes. So I'm again back toe chrome, yellow and some burnt sienna and some Payne's gray to create ah, darker yellow ca onda. I'm applying it over the complete foreground. My intention is to create a lot of picture, which I want. Oh, create because I want O suggest a lot off grass. So towards the bottom of the painting, I want toe. Apply darker washes using more off Payne's gray and burnt sienna and less off your loca. So a slogan. See, I'm applying the brush in different fashions to create a very rough texture, and each breast stroke off mine is getting drier and drier so that and doesn't create those blooms, which are common in more to color. Rather, the color sits on the paper and cleared some soft ages, and I need to finish all this before the underlying your local wash dries up, because after that, whatever I applied will create hard edges. As I go towards the horizon, My brush strokes are becoming thinner and thinner. You might have noticed that I'm showing the reference photograph on the final painting in the bottom right corner just so that you can see the brush marks, which I made, how they end up creating on how they end up looking in the final painting time, allowing this stage to dry a bit. Andi, I need to create more texture to indicate the grass. So I've taken 1.5 inch brush flat brush on. I'm mixing a very thick color, which is your Loker, some burnt sienna on and pains great, and I'm creating very and off brush monks. You can see that the brush is not having a lot of water. It's the water content is just enough toe. Apply the paint on the paper and you can see as I moved towards the horizon. The brush months are becoming thinner and lighter. I'm not picking up any more color as I moved towards the horizon so that medically makes the color lighter. I still feel that the grass and the bottom should be more dark or darker than more. Did is right now. Now I'm mixing green color for the bushes. So again, what I've used here is some Payne's gray, some who could screen and cobalt blue, and I'm using a round brush toe. Indicate those bushes. No, I'm painting the bushes on the right hand side. These bushes are somewhat closer. Toe the viewer, then the bushes on the left inside. Hence these bushes will be slightly bigger in shape. I want to dark and, uh, push this in the fall down, and I'm using more off Payne's gray. Here. I use a lot off Payne's gray as a replacement for the black because it has a blue tinge. It kind off is a better color to paint landscapes than pure black. I'm mixing some CPR into the only present color. I'm using this color toe indicate some small rocks, and I'm again, huh? Using our dark mixto dark in the grass on the bottom of the painting. I'm still not happy with the texture or the value, which the foreground grass has. Now you can see that I'm using the brush sideways and not using its tip. I'm also not afraid, toe. That's the painting with my fingers. Whenever I feel that a brush stroke has not come up to my expectations, I have my finger with it. Just toe lighten It are toe changeup, sip some fine tuning toe The bush is now. I want to paint the tall tree in the left hand side. So I'm mixing dark brown using CPR on and pains. Great. And I'm using a very thin brush. Unfortunately, my hand is coming directly between the camera and the painting so you can't see what I'm doing. But what I'm doing is I'm drying that tree trunk and I'm going it upwards so that the brushstrokes become thinner towards the end, and I want to know now indicate the foliage or the leaves off this clean. So again, our dark mix and I'm using one hour brush. And I am keeping the color very dry so that the president's don't stick together, and they create this random shape when I touch it to the paper. This is actually ah, very old brush which got damage due toa usage. But now I use it to paint the foliage, which would have been otherwise very difficult with the nice bush, some fine doing without smaller brush. Andi. Now what remains to repaint it is the fence, So here comes the first hold off defense. You can see that when I compose this painting, it's I've shifted the horizon line towards the top of the painting. If you see the reference for donor, I've moved the land, the words the top off the painting so than the horizon Land ships up, and that has created a lot off depth in the pending Onda. I'm barely touching. The people toe indicate the barbed wire, so somewhere the line is seen somewhere it is not seen. But that's good. Enoughto l love you are that there is a Web line there and I need to ground those pools. So I'm making some dark marks on the ground where they're supposed to touch. They go. Otherwise they look as if they are floating. That's the reason even the big tree trunk is having some dark shape, very touches the ground. And now I'm just thinking what I should be adding to this painting or it's already done. So this is the time when you need to decide whether you need to stop, because many, many of endings get spoiled because they are or world are. The artist tries to say too much in one painting, but it's easier said than done, so it's always call. You have to take when to stop. So no, I I decided to go had some interest to the foreground by adding some stones are rocks. You can see that I'm applying the paint and then I'm touching it with the with my finger so that the color becomes lighter and it gets some picture the foreground Rock Waas who? Doc for that environment and I go lighting it up. And finally, I've decided not to overwork this painting, and it's timeto sign it on. This is that I am to remove the tape on DSI, the bending with its clean border. I hope you have liked watching this demo on Also learned something from it on dime, including this photograph reference photograph with this video so that you can use that as a reference for the painting, which I urge you to do because that's the only way you can improve your art by printing more and more. So thanks for watching on and see you next time