Two Brushes for All: Painting Watercolor Sceneries with Essential Supplies | Chiara Mazzetti | Skillshare

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Two Brushes for All: Painting Watercolor Sceneries with Essential Supplies

teacher avatar Chiara Mazzetti, Artist

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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

6 Lessons (45m)
    • 1. Welcome!

    • 2. Let's talk about supplies!

    • 3. Project One - The Lighthouse

    • 4. Project Two - Cabin at the Lake

    • 5. Project Three - Sunset Vibes

    • 6. Final Thoughts + Bonus Video

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About This Class

Do you ever feel overwhelmed by all the watercolor brushes’ shapes and sizes?
Do you think you are missing a particular brush and this is stopping you from trying a painting? No more!

Because in this class i will guide you to paint three amazing landscapes featuring different places, atmospheres and elements of nature using just essential materials!
I promise you will not need to have an infinite amount of brushes because at the end of the day.. we will only use a few.

Welcome to “Two Brushes for All: Painting Watercolor Sceneries with Essential Supplies”.
Today I will guide you through my process of painting, starting from the very beginning with a photo reference and analyzing the drawing, moving forward where you will learn step by step all the tips you need to know in order to make a stunning and effective watercolor landscape with breathtaking colors.
With the mix of ink and watercolors your artworks will pop up from the page!

This is an intermediate class because some of the concepts have been explained in my previous lessons. So if you are a beginner or if you need to brush up on your knowledge I suggest you to watch my other classes first, I’ve done a bunch of lessons here in my Skillshare channel covering all the basics and I’m sure you’ll find them very useful!

Meet Your Teacher

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Chiara Mazzetti



  Here's the Artist behind the Art :)
  Hello! I'm Chiara Mazzetti and I live in Italy.

After completing classical studies, I graduated in 2016 at the University of Pisa in Digital Humanities and later I specialized in Graphic Design in an academy in Milan. After finishing the studies I worked as a Graphic Designer in a historic and famous art gallery and at the same time I designed websites together with my partner.

At the end of 2018 I became interested in calligraphy and lettering, whose arts taught me the patience and the importance of practicing every day. From this point on, the passion for watercolors began almost spontaneously, findin... See full profile

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1. Welcome!: Do you ever feel overwhelmed by all the watercolor brushes, shapes, and sizes? Do you think you are missing a particular brush? And this is stopping you from triumph painting no more. Because in this class, I will guide you wan't. Three amazing landscapes featuring different places, atmospheres, and elements of nature. Using justice central materials. I promise you will not need to have an infinite amount of brushes. Because at the end of the day, we will only use a few. Hi, I'm your teacher, Karameh, safety. And this is my class, toothbrushes for all paintings which color, scenery with essential supplies. Today, I will guide you through my process of painting. Starting from the very beginning with a photo reference and analyzing the drawing. Moving forward, where you will learn step by step, all the tips you need to know in order to make a standing and effective would polar landscape with breathtaking colors. With a mix of ink and watch crawlers, your artworks will pop up from the page. Please, is an intermediate class because some of the contracts have been explained in my previous lessons. So if you're a beginner or if you need to brush up on your knowledge, is suggest you to watch my other crosses first, I've done a bunch of lessons here in my skill shares channel covering all the basics and I'm sure you will find them very useful. If you're ready, let's jump into the supplies video together. 2. Let's talk about supplies!: In this section, I will show you the essential supplies necessary. Complete a watercolor painting, and some optional Accessories if you want to use them. Let's start. I will use the sketchbook made by an Luke journal. It's about an A5 sides with cold pressed watercolor paper. It's important to test your paper and to know how it behaves in different situations. Such as if there is too much water or whether the color dries quickly or not, and so on. In order to deal with it correctly. The brushes you will need are only to one big and one small, both with round shape. I will paint with a number 12 for the most part of the time, using the belly and the tape to have different kinds of marks and the sides for, for details and to use this plotter technique. Watercolor paints. These are all the colors I will use for the three paintings. You can download the exact names and shades in the research section. In the lessons, I will tell you the kind of color I'm looking for. For example, I might say dark blue or a warm tone. I find this ballot to be very useful because it's built to contain very well both colors and surface to mix them. If you want, you can first draw the subjects using fine liners or the Fontaine pan. I find them very beautiful to use. The fountain pen is salami with a fine name, and they use it in combination with this sepia waterproof ink. The fine liners are of different sizes. I mostly using the first three, which are the smaller ones. Because if I need thick lines, I prefer to take the following pan. But this is not necessary and the big fine liners will perfectly do the work. If you want to use the Friend liners, be sure to use waterproof ink. Otherwise, it will dilute the first wash you put on the paper. I make use discovery box to keep my sketch book tilt in order for gravity to drag the color down. Obviously, you can put whatever you want on your sketch book. Or if you don't like the effect, keep it flat without wanting anything below. Then I use this clip, which is very useful to all the papers together and prevent buckling. If you want, you can use a single folio and put some masking tape on the sides to keep it fixed to a surface. And last, I use opaque white to create some atmosphere and textures, but mostly to splatter India. And this one is completely optional. Protocol up. The only things that are really needed, our pains paper and do brushes. You will see me often use fine liners and Bellamy pan because I really loved their fact they create, but they are not necessary for a good result. 3. Project One - The Lighthouse: In the first video, I will guide you to paint a lighthouse from this beautiful photo interference. If you notice, I place the little line on much closer than it is on the photon moving the lighthouse slightly to the right to not have it exactly in the center. In order to create a compelling composition. If you want to know more about this and really get an insight on why I choose to do that. I recommend you to watch my class, five ways to improve your Which color landscape. Where I go hover some useful information about composition. The sea and the sky are roughly sketched and they kept the fine liner barely touching the paper. While I define the rocks more clearly. The line I draw is sketchy because I want the colors to create magic. Try to lift the pen from the paper. Quite often said that the outlines are not made of a single line that defines the world landscape, but rather multiple, smaller lines. Define liners are used here, are off-site 0.05. and 0.01. I often like to begin my paintings from the sky, and this case is no exception. The sky has very light pastel colors that we will recreate with washes. Start from the top, spreading some very watery blue. And with the web but clean brush drug the color downwards. I did put the case of the fine liner under the sketchbook that keeps it tilt towards me. In this way, gravity allows me to paint, drugging the color to the bottom in the middle of the sky for Don orangey color, right after the pinkish red color, just before the resonant line. You can also use some part to add variety. Remember to leave some white RES that represent the clouds. But if you don't like that with your damper brush, does much of them. Let's move on to the water. With one of the deep blue like in Don trend on the indigo. I apply a watery wash on this arc race. I also pain the lethal aria of the sea close to the rhizome. As you can see, color spread across the sky. I really liked this effect because it gives me the idea of waves crashing on the rocks. But in this case, I want it to stick to the reference photon, which is presenting a flood C. So I decided to fix it, soaking the color with a clean brush. I also dub with a tissue and then I pass a veil of color on top. This is a very delicate art fix. So if it happens to you to be careful to not have too much water on the brush or it will spread all around in their near RES. With colors like red arrow Oceana, I create some dense mixes and tried to worry the colors, often creating uneven brush strokes. Using the belly and debug the brush. I also use both warm and cold colors that will determine the areas of shadow and light in the rocks, making the painting lively. With a brown like sepia or a mix of Amber and name the go. I'm going to define the darker shaded parts of the island, not systematically copying the photo and follow my instinct. And more importantly, having fun using an initial wash of yellow and pink. I think that the two houses and the Lighthouse, I just want to have a color base. Start with and give the idea of unity for this cluster of buildings. Now, I pay attention to the lighthouse, taking the brush number four, I leave the facade facing the sun, almost white, while in the opposite one drop of blue to give the side in the shade of color tone with a blue or a mix of burnt sienna. I don't try Marine. I'm going to define the first arias of shadow, even on the most decent house with indigo, I then emphasise the darker spots. Time to go into details with a fountain pen. I really darken the area between the rocks and the water. And then I go up to trace small Marx Iran there to differentiate the rocky terrain. The color that hasn't dried quite yet causes things to spread into it, creating a beautiful effect that they often searched for in my paintings. After adding a few more shadows with a fine liner, we'll want the revolts in the foreground. With a dark blue. I trace some arcs in the sea with gentle movements barring the sides of the stroke by making less or more pressure. Then I smudge them with clear water. Here under. I repeat the same action a couple of time. I then adjust the shadows on the buildings with another layer on top. I want the difference between the light side and a shadow side, to me very clear with a warm to cold contrast of colors. To get more texture in the sea. I use my finger to spread fresh collar, mimicking the movement I would have made with the brush to follow the direction of the rape bolts. Indiana. I just refined some details with the fountain pen or the fine liners with different sizes. As a finishing touch splotch or indigo and whitewash. Widows more Brush. And here's their assault. 4. Project Two - Cabin at the Lake: Let's now paint another idyllic scene featuring Dr. Robin near a lake in Norway. For this specific painting. And will also show you the preliminary pencil drawing, which I then went over with the ink, adding a lot more details. Obviously, you are free to use append immediately or to draw in pencil as many features as possible. But I advise you to leave the drawing in pencil, sketchy, and light. Because at this stage, you will only need to see the shapes, the correct proportions, and composition. And only then when you have a strong structure, you will define it with adding all the details you want. Let's start again from the sky. Find the color on this crowds particularly interesting are Noren, Boston, Tom with the handle bar pole, with the deep of the brush, draw lines as you approach the horizon to give back to the sky and not make it look flat with a light blue like cobalt, and will finish the remaining part of the sky. Make sure to leave some whitespace is. And don't be afraid. Don't make scholars directly on paper. Here and there aren't some darker color. Liking a beak. Sure. Now let's move on to the mountains. As you can see from the photo. This mom Danes are composed of many colors and stand out one from each other. I take the pustule color I used before for the clouds Twilight to suddenly parts. While I will use called colors for the shaded one, such as blue and violet. For the first aria, I applied both warm and cold greens to accentuate different parts of vegetation. For the most distant montane a will mainly go with ultramarine blue to create depth and aerial perspective. And they will add R and only on top where it is touched by the sun rays. The most delicate part is the Lake Aral. I mimic the colors on the sky without a wetting the paper. The brush strokes are already very waterway. Then I add the colors for the reflections of the forests, the stones, and the carbon in the foreground. I want it to remain an impression of reflex. So I get everything very loose. It's all done with very light strokes. The colors will mix, and it is important not to overwork this aria. Otherwise, it will become artificial. There I see part with too much water. I quickly absorbed the adults gently topping with a clean brush. Now to paint the first layer of the common, I choose colors like raw sienna, word Shanna, and Naples, yellow. For the grassy Rolf. Instead, I use a brighter yellow with shades of green. For rocks, we declare colors. We're going to take a first layer of Brown's, often changing color. With honor and violet. I define some dark RS on the comin and go again over the rocks. I delineate the mountains a bit more with small strokes of blue to bring out their conformation of the terrain. Without very dark. When I paint with a brush, some groups of trees with dark brown, I defined shadows on the lot there. And under some rocks. It's important not to overdo it, but to give just an impression to keep the painting fresh. On this part, I don't like this marks soap with Adam brush. I rub over them to smudge the edge and get the software shade. Which simple water lines I define small ripples in the water and then spread that with my finger. Let's now take the phone game plan. And finally, to finish the details. Contrasting the dark lines I'm just creating with the bright colors of the painting to give a specialist patch spot there. And the painting is done. 5. Project Three - Sunset Vibes: The last painting is a deal with a very suggestive sunset with light hitting the back of the pine trees with the pan. I have defined only the main subjects, such as the cabin, ground with grass and the trees. The atmosphere created by the sunset will be entirely made with watercolors. I drew the trees in the foreground with firm marks, while the others have thinner and smaller strokes. To give that to the drawing and accentuate that there are two levers of trees. So let's start to paint from the upper part with a very diluted light-blue and spread it in the first half of the sky in a loose way without creating clear lines. For the remaining part, I use Indian yellow and also read occur for the lower AIA near litres. Always doing it all in a loose way, leaving whitespaces at the blue of the sky, making some strokes very close to the yellow URLs so that they march. Don't overdo since this part should already be a bit dry. Ice mod with Dump brush, some art edge that I don't like, and then refine it all with the same method here under paint. That two mountains in the distance that almost merge with the sky within them, gold and red ochre. I paint the first layer of the grass still hit by the last rays of the sun with the Dickensian yellow, white for the shaded part, I use both warm and cold Brown's mixing amber with Venice, purple or indigo. You can also use sapiens around if you already have it ready in a tube on fun, instead of mixing. Using the tip of the brush, equate color variations from the grass with red and orange, with very thick and dark brushstrokes. I trace expressive marks in the foreground. Even going on the silhouette of the trees. Being careful to put a bolt Indian yellow on top of them in order to create rays of light than a continued to pay the remaining part of the trees. It's time we take umber and indigo. Let's start with drove. I use a light blue and violet For the first wash and cover the entire surface. For the house with dark brown. I'm going to spread of first layer color on the sidewall, avoiding the blades of grass with the deep of the brush. By doing this, you will use the negative painting technique to define the shape. For the front wall. Instead, I use an orange for the entire around. A will deal with the dark shadow later on. Paint the trees in the distance loosely. Some with warm Dawkins and others with called dawns. I take a smaller brush to be more precise. I have to avoid the bark of the fence. With the same small brush. I define the second layer on the comin in order to darken. This shadow on the PSA has a sharp edge. Pay extra fashion here and be precise. The color I use is a reddish brown drops of indigo. Same thing here. I'd use the same color trying to give an idea of the roof groups. In the meantime, while this layer dries up, let's go to paint the details on the loan with the tip of the brush and movements from top to bottom. Trace marks that point out the direction of the grass. Obviously, if the part is in the shape, they will use other brown. Why? If the part is starched by the sum, I use an orange, yellow. The paint is always very thick for details. The small brush and dark red brown and draw from left to right following the Buddha's strips of the sidewall. Than covary to darker native and more just to make it more resembling to the reality. Now, let's state the funding plan and start adding dark details to the shaded ground in the foreground. Quibbling around and making textures to accentuate the pattern of the law even more. And make blades of grass with the white on the darker part, creating a nice contrast. With this block. I strengthen next concept even more. And still not satisfied with the colour grade of the shadow and the house. So I'm going to work on it again using thicker colors and also using indigo endemics. Same goes for the roof. I add a layer of colour to accentuate the shaded part. Now, more details. I'm going to finish all those small little parts that will give life to the painting and transform it from flat to lively. I really loved this part, and they always spent a lot of time here. In this particular painting. I work above all, to make the best of the last evening lights on the loan and the trees. 6. Final Thoughts + Bonus Video: Thank you so much for joining me. I really hope you enjoyed the class. Remember that you don't really need to have plenty of supplies to make a good piece. You only need a few. For this lesson. Toothbrushes were enough. One big and one small will do all the work if used correctly. If you have any questions, please drop them here. You can use this section below to start discussion. In there will be extremely happy to help you. If you also feel like I would greatly appreciate if you could leave a feedback on this class so that they can grow and become a better teacher. Last but not least, I can't wait to see all the imaging landscapes you will paint. So please upload them here in the project Galerie. Your work will give me inspiration and courage to other students. It could be one of the painting I show it to you, to all of them or ribbon up project of yours, if you'd like to share. As always, I would be happy to find your artworks on social media. If you use Instagram, tagged me at Karameh, dot art and art, the hashtag skill share with Chiara because I don't want to miss a single one. Thanks again and see you in the next class. Bye. Yeah.