Three basic techniques to improve your watercolor paintings - gradient wash, wet on wet, dry brush | Kai D. Janik | Skillshare

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Three basic techniques to improve your watercolor paintings - gradient wash, wet on wet, dry brush

teacher avatar Kai D. Janik, artist | art therapist | activist

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

12 Lessons (1h 24m)
    • 1. Introduction (2)

    • 2. How to apply a wash/gradient wash

    • 3. Wet on wet technique

    • 4. Dry brush technique

    • 5. Painting 1: Winter Forest (part 1)

    • 6. Winter Forest (part 2 )

    • 7. Painting 2: Winter Scotland (part 1)

    • 8. Winter Scotland (part 2)

    • 9. Winter Scotland (part 3)

    • 10. Winter Scotland (part 4)

    • 11. Final thoughts and project

    • 12. Outlook

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About This Class

In this class I am showing you how to apply a basic wash, the wet on wet technique and the dry brush technique. After practising those, I show you how they can be used to add depth to landscape paintings. The techniques are important basics for almost every watercolor painting and after practising with me, you will have developed a feeling for them.


Everything is in real time so you can paint along with me.

If you are new to watercolor, this class is a good opportunity to start getting to know different techniques. If you already have some knowledge, this could be a great exercise for you.

I will be explaining all the materials I'm using in the video. Let's paint together!

Meet Your Teacher

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Kai D. Janik

artist | art therapist | activist


Hello, my name is Kai (he/him, they/them). I'm a professional artist and art therapist from Germany.  I believe that everyone can become good at painting and drawing, it's only a matter of dedication.

Before I started working on my portfolio to apply to university, I had stopped creating anything art related for almost ten years. When I decided to try anyway, because studying an art related subject was what I had always wanted to do, I gave myself the time to paint and draw every day and I saw a massive improvement of my skills in a short time.

At university I had four years to develop my own style and learn from different artists. Now my art mainly consists of video installations and portraits. If I need something to relax, there's nothing better than painting waterc... See full profile

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1. Introduction (2): Hi, everyone. My name is Ty. I am an artist and art therapist from Germany. Andi damn going to show you where you want to kind of techniques that you can use to create depth in your landscape Paintings. As you can see, things that have any background is a projection. I'm trying to time my talking to noise so it's on to go out and yourselves. Dramatic smoke in the background. Maybe I can use that attack from itself. So what I'm going to show you in this class are three. Defend what kala techniques with which you can create that in watercolor lads get panics, for example. But you can use them in almost every watercolor painting. Once you understand, how would they work? This video was all in real time, so I'm going to show you the three techniques how to apply washes. The Gregan washes. Howard, too do wet on wet painting and how to do the drivers brush technique. Then you have some time to practice. The only thing that's not included in the rial time. Out of drying times of paintings, you can use the head right after. If you want to speed that up, but I thought you might not be that interested in watching my paintings. So after you took your time to practice and familiarize yourself with the techniques we're painting, we're going to paint to watercolor winter landscapes together on I'm showing you how to create with these techniques in the Water Column. Landscapes. All right, let's get started. 2. How to apply a wash/gradient wash: and the first technique I'm showing you is how to play wash of color or how tip lie, Grady and wash cold pressed piece of water kind of paper. It's likely textured and mine. It's just a piece of spare, a piece that was left over. So as you can take a piece of paper like that and practice first before you move on to, um, the final piece of papers you want to work on for your winter landscape painting, I have ah, fled pen first. That's good for applying washes of paint can just different sizes and taking the bigger will know because that's faster than them using a round or two color brush. That one has real hair. That means it holds a lot of water, and I'm going to use a very small paintbrush in the end. It's a size zero, and it's broken because I sat on it accidentally. Okay, you pick up some water and do you think some blue here certified that first thing you can do? You take water and blue paint, you apply it to the top and then you watch out your paintbrush pickups, just some water and then you go in and you draw the paint to the bottom because the pain will flow to the parts. The pigments will go to the parts where there's water, but no paint. Men. Okay, so you just go in on, pick up some of the pigments with a paintbrush and just moved to lower part of the painting . Then go back in with your water. And now we're just moving with the Clearwater to the barge. A motive piece of paper. Just so. It's slightly like it's damp, but it's not really wet this way. We won't have any sharp edges because the whole paper, it's wet. And they're just like if we stopped here, where and then the color stops. Well, just later, have a line going over there. Okay, so that's the first thing like the basic wash. So make sure every time you're going in somewhere, I'm applying a wash. You want to make the whole paper damp before you Atlanta try? Okay, so not a whole paper is done. We applied our first wash, and I want to go in with a second color now. And I want Teoh try the wedding. What 3. Wet on wet technique: the less wet the paper is, the more control you have over what is going to happen. You use some water, maybe, like I have some light wash off indigo and the paper iss wet? No, I've taken off a little bit off water again because it's a little too wet and no, I'm picking up some in to go with the paintbrush so the papers wet. I have some water and pigments on my paintbrush, and if I go and you see well, just plead hours on end like blend into the background. We get this kind of floury texture. It's good, like for something like ice crystals or for anything that grows plans. Or like, yeah, like hair on animals, for example. Or if you just want to create something, it looks like it's more in the distance like they're different. There's a lot of air distance in between. Okay, so that's the wet on wet technique. I could if I wanted. I wanted to really, um, blend colors. I could, um, go in with some green, for example. Just see what happens then, and it's all went like you have to be careful if used too many colors. Then they just blend together. Teoh create brown, but like this, you can can easily just play around and mix on the paper again. I am applying some water already. Got some some paint in there, so we just place, um, some water. So the paper is step again. It knows, like to wedge, because if Tab Hoddle's of pain, then all the paint will collect in there. That's an effect you might want. Then you can do that. But if not, you don't cam taking the around watching kind of brush. No, I want to pick up some paint. Andi, I'm just getting the outline off tree. No. So I'm just doing that. And because the paint is wet and the background is lead, they just believe into it can add, um, and you can just They went in and that see what happens now up here, and it's not really what I want. So because the whole thing is still wet, it's really easy to just go in with the paper towel and just take off all the X pains that we don't want. Okay, that's the went on what technique? So just see, it's like a good technique for creating fog. For example, 4. Dry brush technique: The next thing we can do is a dry brush technique. I have some dry paper. I have a little bit of water on the Pampers because if I don't have that, I can pick up any pigments, minutes almost dry. I have to slightly textured paper, and if I just go over it lightly, just see that the pain will only collect and some places where the paper is raised a little and it will stay out of the like lower values off to pay paper and, like it's good for grating text was like grass. For example, do you get like to paint? Doesn't dissolve or blurring to end where you just get a paint where you wanted, and you don't get any sharp edges because it's not wet? What So the technique for that to see how with their own brush, I just play around with it and create something like little patch off grass, for example, you can just play around with the different pain process. For example, if I take a little wetter, pained onto dry paintbrush and at the small paintbrush, it's easy right with it, for example, or to makes them no just some lines somewhere. It's really easy. And it doesn't like to do it that way because it doesn't blur into direct front and created some kind of animal over. I don't know what happened of squid anyway. Um, then you can if he used the this pain Bush, um, the, um, lead paint brush, for example. You can, um, do the same thing. Now I have some water on there, but the background is dry, so no show blinds and it doesn't go anywhere where I don't want it to be. And if my pampers is really dry and only pick up some paint, you see, I can create the same effect as with the grown paintbrush I can. I found just that the paint brush and create little textures with the bristles. I think that looks kind of cool. You also get some. She gets some nature re floral textures that you can easily use. For example, in your landscape, paintings was tapping. Can you see that? That's what happened toe our wet on wet painting. Or it did the same. Where was stabbing the paintbrush, but the background with wet. So it all dissolved into this kind of beautiful. What country background. And this year just states like sharp and doesn't go anywhere. So when it's dry, it will look exactly like this. Maybe noticed Dark because when it is wet, it's like just look a little lighter. So after this has dried, we can, like, practice our first tree. Now go in with the driver us to take over this and in some you can cure it is still wet. So we go in, the paint will dissolve. No, this part is already dry, and I can just go in and create something with the drivers technique. Just stay in the general save of the tree. Used to say your brush has just grab it on the paper and create this tree just like real quick. It doesn't have to be perfect. Just practice what your brush can do. If you use the very small paintbrush and you go in there, um can engage more Danny kid textures with it, just also just Abit on the paper. And you can just move around like that and just see what happens if you like, kind of move it a little bit. If you just stay in that shape and just let it tree come to life, and then I can say, Okay, I want this to blend into the background again. So Sancta fled pain bras move over, Ed. And because the pedestal went, it will just go. Where are less? Water is on. Just bleed into these areas within a year Can pull this out of one. Still a little bit. I don't want any harsh edges, so I'm just moving around there. I want to keep this card wife. So I go in, take off the water on the edges, just take it off and create. And every ad, it's like already going from try toe wet so we don't get those edges. Okay, so, um, that's the practice. 5. Painting 1: Winter Forest (part 1): practice those single trees for as long as you want. You can mix up the background. She can make more distant trees with the wet on wet technique than paint on top with the drivers technique, for example. But we're also going to do that in our first landscape painting. But what you can dio if you have. If you have practice those trees on, do you want my opinion? You can share them with me in a project action, and you can just like show off if you like them or whatever. Just share your results. Andi. I'm always happy to provide Pete back. If you want that to painting that regard to paint together now, step by step. I'm using some white quash additional to the water cannon. I know that some people say it's not traditional water Kallat, and it isn't like in traditional water color. You would Ln the whole painting in advance, like really make a really details catch, then plan out where things have to be left white and then either apply masking fluid to these areas or you would just leave them white. But for practice purposes and because for me it's it's just a fun activity. It's not. It doesn't have Teoh masterpiece and even like it could still be a masterpiece, because I want you to just intuitively create something to just get into the flow off, creating and feel the joy of creating. And if the result looks good, who cares if it's the traditional taking me? Just do what you like and just do what you like to look up. So if you don't like the white wash there, you're just feel free to make your own words, not the landscape. Painting with the traditional water cannons, you always have to decide which materials are best for you. For example, with the color palette, you can always choose your own talent. If you have a great idea off, which color do you want to use them? Go ahead and just use them. You don't have to use exactly the same colors I have used. I recommend one. Many are like indigo, for example, or some Haynes gray or black. I have used both just in ago Payne's gray, but you can work was just one of them. I am a lighter blue, like really employees, for example, just like really bright, bright blue she to work with some contrast there. I refused to different greens on green. You can mix withdrew and yellow, but generous green chance dinner harder to mix. I just used one, um, Hannah Taylor Green. That's can I don't know electric, get an artist rabbit and then, um, and she's an olive green, certain really dark green in the second painting, but but you can always makes your own green tones wear different amounts of blue and months of, you know, and just go with that if you want. Then I have used some magenta into second. I've used some jello. That's kind of a warm yellow northern cold, you know. And, um, I've used the white watch can also hear something world could just your handsome highlights been. You cannot. So you some other kind of yellow the yellow did we're going to use in a second painting that you want. Let's start creating together. The first painting is a winter landscape or its knowing at the moment we have some trees in the foreground. Some trees in the background received something like a part that's kind of some areas that are not as detailed and find. I show you how to make it look like this. No, in the four and what you can't like this year. It's mainly no wet on wet technique like come with control, where the pain, how to position elements, the composition of the painting. 6. Winter Forest (part 2 ): I have used masking tape to take the paper it down on the table that just holds it in place while it's wet. Have, um, some cerulean blue here, and I'm starting with the tree on the right. I am just like we did in a dry brush technique. I'm just debating the paint brush on the paper and creating a for tree, and you can work rather quickly here because we're going to paint over that in a few layers . So that's that's just our reference for where the trees going to be at the bottom. I'm using a little bit more water, and I'm not making those small strokes because that's going to blend into this. No, later, I'm repeating the same on the left side to create some kind of gate between these two trees . They're going to be the main trees, and then I'm picking up some clean water with the paintbrush and just moving alongside the edges of the trees. Not a whole tree, just the lower half of the tree, so it's going toe blend into the background there, but we still have the sharp and defined upper part of the treatment. I'm also blending the tree with the background at the bottom because when you're paints, knows usually intake toe right background and then you add some, like blue are grave and mostly blue, and I'm just just adding a little bit of blue there. It already looks like snow. Next, I'm picking up some of Taylor Green, and I'm not going over the whole tree just a little bit at the top and, um, picking up a lot of pigment now. That's why I've switched to the real hair paintbrush, and I'm just making really small darts. But I'm staying in one area off the tree, not covering the whole tree. You can always add more in layers when you realize later that you wanted more. But you can't take off a lot off pigment when it's already there in the test remit. So I'm just hinting at some trees, and the fog in the background behind the snow, just very loosely in apply some blessed off pain to the paper in the background is still dry. So I am taking off a little bit of the color again with a paper towel, because that will, um, create a nice texture just there would likely to the paper. Then I'm trying the whole thing with the head dry up. Next, I'm picking up some clean water, and I'm just adding a wash of of clean watchman over the area of the trees and having edged all the edges with to pay botel so the water does collect their and make strange line foreign. It's drying. I'm picking after indigo, and just with the very tip off my round paintbrush, I'm dabbing as paper on the left tree and because the paper ist um, it will pull out a paint, but use only a little water. Be really careful with that because it's too much water. It will just flow out. And then you will have to pick it off again and start from the beginning, doing the same on the right tree. Also the dumb paper, and it just looks really soft this way. Just building up layers, adding some letter dots to the background into the trees in the background. So it's it will kind of blend in, but we're building up. Those trees in the background was always leave some little areas off right between your breast stroke, so the background can shine through and let's a little more like snow. And that's, uh, like how we're building depth because we have rebuilding a background that's kind of looks far away because it's all, um, soft. And then we have a more We're building a more Do you tell for ground? I'm adding some more green there, just some little dots in between but leaving the main heart blue. I'm adding another tip off a tree to the right, and I kind of I want to guide a little bit how someone who's looking at this painting is going to see the painting. So we have 12 trees on the sides and then let's ah, smaller trees in the middle. So it's kind of a, you say. And the gaze of fear stays longer inside the main part of the painting inside the trees. It doesn't go outside immediately. I am picking at a lot of this green. It has a lot of picked men if you don't use much water that gets really dark. So I'm just adding some visual areas with more green than I'm picking up the Payne's gray, and I'm moving to the background, just like picking up a lot of pigment. It will try a lot lighter, but I really want to create some contrast now. So on going to the tree. And if you use the personal paintbrush and you've got it like, um, straight, um, you can creators lying stand almost by themselves, look like there the branches on with the little needles on them with the pants gray. You have to be careful that you still leave some areas in between where the brake warning colors are shining through because if you don't adjust, all look great. I'm using the really small round impersonal just to add really fine details on top. And you see that I'm moving really fast and just loosely holding the papers, just staying inside the shape off that triangle at the trillions. No, I'm letting the whole thing dry again, and you see, it's a lot lighter now. 7. Painting 2: Winter Scotland (part 1): the second painting that were started there was a little more complex, and 1st 1 it focuses more on foreground. We need adding, we're adding some more tea to have their working war with. We're working on with the Dr Ross Technique in there. Andi, we're creating this Scottish went allowed. Scared. Um, I've been to Scotland two years ago. In winter on. It was really beautiful. I always wanted to create this view in a water camp, a painting so we see some hills from the highlands background. We see some in the foreground, and we're standing on a hill. So we have some trees that are really tall, right in front of us, and we have some trees where we only see the tips off off the trees. Upper end of the trees in the distance. It's sunset, but not really like Bride, Calif. Own son said. It's more like winter sunset. When does ordinance no coming from the other side? We start by outlining the tree. I'm using a water soluble pencil so it has the same color like the water cooler. We're going to you soon so as we're going over it with the water colored later, it will just just orb into the rest of the paint. That's why I prefer it to sketching with a pencil, because then you have to erase it later and you're going through. You raise some of the water color with it for the trees. I'm just making triangle shapes on. I'm choosing to make them taller on the side. It just make too tall trees and decided that we're basically on the hill and we're looking over at the Highlands. Reference wrote for us 18 against Scotland. So and we're looking over the treetops in the middle edge. Undecided, I choose, chose to make too toiletries. I'm picking the watercolor breast that holds amount of paint and water, and I'm picking up some off the Archer Marine blue. Then I'm just tapping the paper with the tip off my paintbrush. Andi, I am moving with in the triangle shape I made. You can't really make any mistakes. Their asses long issue, um, roughly stay inside that shape that's going to look great in the end, by just tapping the paintbrush I'm creating. Ah, a little bit of her texture, and I'm leaving some some whiter spots inside um, or the dark water kind of and and I'm just quickly moving onto all the other trees and just drink the same there. So that's the first layer on um, so we can see whether trees they're going to be in. It's easier toe work from there. I'm working on a paper that's dry, and I just added some water within the trees, but like, it's not really wet on wet. So it's not like this. The water huddle on the painting. I have no picked self Taylor Green. I'm going in with Dad and again just tapping it. So some sports image. We will stay ultra Marine, and I'm not covering the whole shaves off the tree. Just some places. So we get more variation inside trees don't want every tree to look the same. I am taking the yellow ocher Now on. I'm just adding some little spots in there. Um, maybe do some areas where that that are still white. So you don't get green immediately. Number just some some highlights in there. Okay, then I'm waiting for the whole into dry. You can use a head right to speed the whole process 8. Winter Scotland (part 2): to speed the whole process up then, that I am taking you black paint brush. It doesn't hold much water. I'm just picking up a little bit of water and moving along the edges after trees, because were you used? If we use some water with the paint and we're not picking up all the water before we let it drive, we will get those kind of sharp edges on, because I I know that my water kala pains are the ones that come off again easily. When I go over it. I don't need to wrap a lot to blend some of theater's, but, um, most of the time it's yes, your to just doing that a while. The pain is still a little bit. What just added some water to the whole painting. Not much, just a little bit. So just the paper. Just so. The paper is a little dumb, and if we hand on it now, the paint will know into each other, but only a little bit. Use too much water. World is the control over the paint, and we don't want it, but we can prevent these sharp edges from happening if we always make sure the whole paper , it's wedge before page on it again. Cam, using the indigo now on it looks really dark. Now it looks almost like like, but that will change a lot once it's dried it world right in low light, and I want a nice shadow on these trees in the front. I want to make some hearts of some really dark because they are closer. So we see the more clearly and the ones in the background stay kind of lighter and with less contrast, using a very small paintbrush and just adding a little dots. And because the paper is still a little bit wet, they will kind of lead out and just solve and mix with the rest of the pain door with background, and you can move, move any faster. I am showing video in real time. So yeah, I just don't think too much about it. Just making it does, and you can see that one of the trees starting to bleed out a little too much at the top. But because everything is still wet, we can still correct that. Even if it happens, it's just it's not a big deal like every painting is individual, and if you just playing with things that happen and you just use them, you will be a lot happier. And it will be a lot more relaxed to paint. I'm just taking like paper towels or just having it as a painter, just blood out into the background, making the whole thing a bit lighter. And I'm also going in the areas that I just apply in to go to on. I'm crumbling up the paper and just damming at the paper so it can't nice texture on. There's no too much control, so the ones after it has, right? I again apply mortar to hold painting. I have mixed some in to go and some dog green on. I'm going over the tree on the left. First, I'm using a Bristol paint brush, but a small one kind of almost round, and I'm dabbing from like I'm holding the brush so it's almost strayed, so I just really touched the paper from directly from above, not making any strokes, just like little dots. This way, I could use the structure off the pain powers to my advantage. No, I'm just saying. The ultra marine blue. I am going over parts of two trees decided that I want the left side of the tree to be more blue, the right side of the trade to be more dark hair and more great. And if you look at this painting now, you know, resolved You know what it will look like once it's finished Because I showed you the photo . So this is the same hinting I showed you in the beginning that I'm working on now on it doesn't look that great if we're honest, so just don't worry, this is a staged. It usually happens when painting that at least I find with my paintings that at one point be somewhere where I'm like, OK, this just looks like crab. And, um, I just keep doing it because if it already looks like crab, I can make it much worse. Right, So it just keep on painting? No, I'm adding some of the Paynes grey to the tree on at the top and some dark green at the bottom. Yes, So I just You just keep on painting when those things happen when we're like, Okay, Doesn't agree. Good yet that just means it's not finished yet, So just keeping painting on. Just keep on adding layers because we started where we lightly with the first layer with the water color, we can keep adding more layoffs on top if it because we're still noticed. Arkus we can catch So nothing is lost, going a little darker on a treats in a background. Now, with some off the olive green on some a little bit off the dark green. I'm blending some lending some Aaron years off the tree with the background with the surroundings. So it's not all defense of some spaces. Earl were so some spaces of every detailed in some spaces remain just more abstract. Then I'm using some off to took waas give you some any kind of light life blue. If you don't have that special color and I'm just like dripping some, it's, um, darts on the paper and just having pamper set. Then I'm using civilian through It's a light blue, and I go in there just for the trees in the background, and again, I'm using some water because I want the dots are just made with took wise to lend a little into the background. You can see it's all coming together the moment with all the green. It looks more like the summer forest and the not winter forest. But we haven't added to snow yet. Okay, again, I'm just adding some structure. I'm creating some areas that are less detailed by using paper towel and just having it's on the paper. Then I'm going in with some pains. Great, because now I really want to make those stark areas dark can see every time a dry stay so light again. So I want one more contracts there and also want to create some kind off orders and kind of frame for the painting. That's why I'm going so dark on the outside of the paintings, so it kind of frames the whole image. I'm using the smallest paintbrush again because with that paintbrush can make those structures that would look like the tiny Don boots off needles you have under a tree. I'm doing the same on the left side again. That's two framed painting. So and Derris, one element, that kind of blocks that you if someone looks at the painting, the IRS kind of stopped by dog shape, and this like let back into central after painting. So the gaze of the your stays longer inside the painting because we frame it that way. We're going to do something similar and the sky at a top later, when you're adding the Paynes grey or black or whatever dark on you chose, just make sure some areas from some areas with the blue and green we did early here are still visible because that creates death and contrast. Recovered on in black. You won't be able to see all the work we did before, and the whole thing will just look flat like silver and not like the three dimensional thing we want to create some off. These little trees are painting. They're actually not so later. It's just the top off them that we see because our vantage point it's from above because we're standing on the hill. Okay, you can see I'm just taking up a little off the gray. No, for the treat in the background, just so it makes a little bit more Congress a little bit off a difference. So it's in there, but I'm not making it with the dark. I'm just adding a little 9. Winter Scotland (part 3): And then this time I'm blending the address off the trees with the background, but only off the trees in in the background because the ones at the front, we want them to stand out from the background and we want to see the details off and leaves we already created again. I'm going in with some yellow because I want some areas to put more. Just bring in a little bit different different covers. I am taking the cerulean blue and also adding some splashes here and there. Teoh kind of create a contrast to the gray can sit kind of takes away a lot of color and the rest of the painting and I I want more off contrasts between the different colors as well. A. So you can see that really made the trees in the back kind of hop out more than they did before. This time I'm adding after two trees in the front have dried on, adding water, just the background. But I'm leaving the little hill in the background without water, because if we add some paint to the sky later, we don't want that paint to flow into this hill because he wants no one there. I just I thought there was a little too much water in the panting, so I took the paper towel and took some of the water off again. I'm going in with the cerulean blue on. I am adding more. I'm just adding the pain to the left upper left corner. And then I'm going in with the paint brush with paint on it. Just maybe a little bit of water, but not too much and not much painting it. I'm just drawing our to pain. So creating this Grady in. So on the left, it's stays darker and towards the right, at the bottom of the sky. The pains it later I'm adding some yellow in this guy behind it's hill because, um, time of the day, it's like late afternoon on It's winter. So does already sunset and 3 p.m. And I'm also doing the Grady and with yellow. Then after it has dried, I'm going over the whole thing in cancer. I don't want to the blue Tuesday this blue because it's mother Summers, guys, winters guy, maybe a sky where we can already see their snow coming. So I'm taking the Paynes Grey and just doing the same Grady intended with the blue adding more paid to the upper left corner, going in with the pain. First test some water on it, just enough to kind of draw the paint out to different parts of depending. And I'm making sure that one area off the sky just above the hill stays lighter than all the rest of parents of it are still white. And so because I don't want to paint to bleed in there, I'm just having the area with, um Haber Total No taking some indigo and I makes Thean to go with the Paynes Grey were just added it in the sky. I decided to add some clouds. So, um, I just draw kind of matter lying or like slightly round shape under the power we just painted grey. I'm intensifying yeller sky over the hills in the background and taking off some of the excess water and pain and then blending the edges off the yellow. We're in the background with the areas around it to the Hyland a background. I'm adding some very light wash of throughly and blue, leaving some and yes, if it right but creating some kind of shadow going along the right edge. And I am coming in from from the lower left part of it from the side of trees, just moving up a little with a flat brush to create a shadow on that side. I'm darkening the edge off the hill on Don't worry it. It looks like a black line. It's actually it's actually the Paynes Grey, and it will. It won't look that horse later. It's just now because the background is still very light and I don't want a very hard at their. So I am blending this line a maid, and that's a bit into the surrounding. I'm the hinting. I'm hinting at some other hills, the backgrounds. I'm just adding some little lines in there between the trees, and that's all we need to make it look like their more hills in the background. - I'm blending over. Some of the adjuster were created when the skies started to dry on. Some of Sanders came into trees, so I just went over them with a slightly wet paintbrush to, um, just make a smooth transition. Take it off some off the excess water from the back room because I don't want any I just created in there I wanted all very soft blending each color, blending into the next one, taking the ultra marine blue on uh, going back into the trees that decided to take this toiletry also more and to the foreground and just and make it a little darker. I'm I'm taking the Paynes grey and adding more details through the tree in the background to just make it been to I I've decided to take the tree from the background a little more to the foreground, so I took the Paynes grey and added some more details to it. Then I'm, I want to intensive. Then I want to intensify. I want to intensify the clouds in the background, so I'm adding more off the pains. Great to some spaces. The clouds are Gorka at dark at the bottom, and then there's some later areas above. So I want this one cloud at one coward that brought him and one big one at the top. Like it's actually more, um, off all those clouds, being together like one big lower because, like those clouds, you see you'll win it soon. About to start to snow. I took some magenta because it's this kind of sunset. Africa Lips. Lord and I added some to the bottom part of the lower clouds because the sun and sky are reflecting from it at the bottom, and I just blend it into the rest after cloud. And with the bristle brush, it can't hold that much water. It's I'm going in with it. Most try to take off some some pain. Word was too much. I'm also adding these little magenta reflections to the hill of the background to decide as towards the sun on, I'm going in with a magenta into the background into this guy to, um, create the sunset there that were already created. The reflections. Just blending it into the yellow to get some kind of Ahrens, and I'm dabbing at it with the paper towel roll to make two nytr just, um, lend lend a lot into the background. I don't want this something to like to really pump our that just want there to be this and a dramatic atmosphere and again dark clouds. Don't be afraid to go in there at first. Win more pain from a darker pendant. Actually, I want to see later because as it dries, the paint will become a lot. Nytr ONDA We can always go in with a side of weapon Grecian. Take off some of the color, but we need some there on the paper so we can blend sure to go alone or the edges where you applied to paint with almost driver slightly with a brush. Take off where the water, weather excess water and just lend everything in with the surrounding area so you don't get hard edge. It's nature. We want this guy to look with soft. 10. Winter Scotland (part 4): I'm going in again with, um I'm going in again. Worth the paper towel is taking awesome exes water. And I wanted to create a little more shadow on the hill in the background because to me, it just looked all white after so really blew it, right? So just go in with more blue, because because when just already the setting sun, there will be more shadow on the side of the hell that's not showing towards the sun. And as soon as I see that some edges are developing where the baby paid is beginning to dry . Just going in a Sooners, the Sierra, and just blend them into surrounding areas. Always take off the excess water to prevent all those harsh edges. Now I took some white wash and analytic waas to my palette. Andi, I am mixing into a little bit with the Watcher because parts of it are kind of drive, and I wanted to be almost right if it's if it's too wet. Um, the dry brush technique in trying to use won't work, really, so you can let it sit outside for a while if you want. Anyway. It was a little too dry, so added a little bit more water. But the more water yet add, the more trans parental it will become once it has dried. Um, so I'm taking up only a little pain with the brittle paintbrush. And I'm just dabbing with straight paintbrush from above, just creating very tired Dr like every breath. Love my pampers dot and this is again something Where we going to do several layers and we wanted some. We want this no to kind of lend into the rest of the tree, not just look like it's sitting some in some random areas. So we just go over the ones we decide where, like large information's off branches are going to be and where there's no playing on top, then the bottom. There has to be some dark shadow. So we're just creating this. My until we're satisfied and going over all the trees like this, just adding some dots and it doesn't matter if we add a little more wides, then we want there in the end. But it's always nice to see some of the commerce from the background shining through as well. So leave some area like they already are for example, I really like this area where the water when it dried, it just created It's beautiful pattern that cycle really big snowflakes. So I'm kind of going around that with the white try and preserve it or see how I can keep. This is part of my painting going some over on going over some of the wide areas again with more wide, because when it started drying, it already became kind of translucent and looked more right, used in white. It always happens if you add more water to also going over the treated in background. It's more difficult there because I don't want to blend them into the background. I don't want to make them completely wide, Um, so I have to leave some areas like they whatever for and after we small. It's kind of difficult to not just like cover in the whole tree. I'm taking some off the white. It's well and going into the background, but I'm taking more water with it this time, so the background will get this kind of Mahdi and the greatest all Do you look in some places, like what I'm doing on the left side now where I'm just adding some wide starting from the trees and the little hills at the bottom end int blending into the grace guy. So it kind of looks like this guy and the hell's they're becoming one like it's already. The snow was already starting to fall over them. So now I'm taking sums, really a blue again and reinforcing to settle on the hill because it has right again and going lighter again. And the night, er you start with your laziness. The more chances have to achieve exactly right the ride tone off color, the right capacity just, um, to achieve the look you want because we can all get over it several times with different colors on. We're different amounts of color, and you see how the harsh edge of the hill doesn't look that harsh anymore because the sky on in the top left corner it's a lot darker and that kind of balances Okay, now the white and the trees is right, and I need to go over it again with the dark tunnels because I warned a smooth transition between snow and the rest of the tree. So the areas that I wanted to stay dark of. I'm just going over them again with DACA pain. That's always something you can do. If you want to blend different colors or like different areas off painting and you're not working wet on wet, then you can you. Then it's always a good idea to go over it with both elements, with both Carlos again and again like 1st 1 then the other than the 1st 1 again so you can really create those. You can really focus on those areas between two elements, - and the more you focus on the contrast between the really dark grey or black areas and the white snow, the more three dimensional your trees will look like in those areas. I didn't like how the paintbrush made it all looks off, similar like there was one that dot next to the other, and they all just looked the same in a straight row, which you wouldn't find in nature. So I just decided to go over these parts again, then go over the whole thing and later, with wide to make it a little more lifelike. I decided that to keep this lighter round shape in the middle had to add another tree on top to kind of balance it. And, um, I added, I reinforced the trees in the background because they had already with the snow. They had kind of blended really a lot into the background. So what catches going over it with the took Watts? Or where, um uh, or with light new and kind of adding the same shade the same color? Do this a nice little shape that I have left in the middle of the tree, just going over the clouds again, kind of just repeating what we already did before to make the dark areas darker. To make the lighter area stand out more. - Now comes the fun part. Painting is finished, and we can finally pulled off the masking tape. And I really like this part because the muscle to have this kind of Della wish look. And as soon as you pull it off to have this wide border around your painting and it makes two colors pop so much more, that's wire. Why people are often adding. That's one of two reasons why people are adding a passport true to their painting, for example, and it just instantly looks so much better then. The final step, of course, is to sign your work that you just created. Maybe add a little note for the date or the year when you made it. 11. Final thoughts and project: oil down on practicing three watercolor techniques and applying them into winter landscape paintings. You will have developed a feeling for them. So now you can go on experiment with using them in different ways on different subjects I have included to landscape voters. If you want to continue practice from length camps, you can use them as reference photos. Or you could come up with a fantasy landscape, or you could choose a completely different subject. I can't wait to see what you've come up with. Please share what you have created your ing this class, as well as your own work in progress or finished paintings in a project election. If you posted on Instagram, tag me at kinda Yannick dot art so I can see your results. I would love to see your work and your progress, and I'm always happy to help with any questions you might have 12. Outlook: Thank you so much for watching this class. I'm currently working on a class about portrait painting and would love to welcome here on this class as well. Until then, have a great time.