WATERCOLOR: WALKTHROUGH AN AUTUMN FOREST | Amalia V. d. Fecht | Skillshare

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WATERCOLOR: WALKTHROUGH AN AUTUMN FOREST

teacher avatar Amalia V. d. Fecht, Painting helps and heals

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

13 Lessons (2h 24m)
    • 1. The idea

      1:06
    • 2. Materials

      12:34
    • 3. Sketch with perspective

      13:18
    • 4. Masking

      3:53
    • 5. First wash

      11:56
    • 6. Paint the trees p

      19:56
    • 7. Paint the trees p

      19:09
    • 8. Paint the main tree p

      11:20
    • 9. Paint Main Tree p

      4:55
    • 10. Paint the main tree p

      10:49
    • 11. Forest leafs

      8:51
    • 12. Final steps

      26:01
    • 13. Thank you

      0:31
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About This Class

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During Autumn nature slowly turns into lovely sienna, red, yellow, brown and green.

Aren’t these explosions of color inviting, but also intimidating? What if I get it wrong? What if it is too difficult?

Not really!

Here is why. 

You will master a complex composition with ease and thought.

Through my demos and suggestions, you will sketch, paint and create lovely texture.

This class will help you gain confidence when attempting a landscape artwork!

Let's begin!!

Meet Your Teacher

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Amalia V. d. Fecht

Painting helps and heals

Teacher

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Transcripts

1. The idea: Hi guys, My name is Emilia. I live in Milan, Italy and I'm an artist. I've been building already for 20 years with oils, crayons, colored pencils, graphite, and watercolors. Painting an autumn landscape. We will start from 0 by sketching it and applying the rules of perspective. I will show you how theory guidelines in order to place the objects at the right position. Then we will continue with our watercolors by applying the transition from light to dark. And you will learn how to create texture by using salt. I hope to see you on my glass. And then if you have any suggestion, styles Was Cyber, Right me and I was the answer as soon as possible. See you there. 2. Materials: So before we start, we will have it look at the materials, right? And then later on, I wanted to show you the colors we're going to use and maybe give you a hint of how you can replace one with another. So you use what you have at hand and don't have to rush to buy new ones. So before we start, remember you always need good quality paper. This is an old block of Winsor and Newton is now out of production. They came they recently came out with this one. This is a nine for 12 inch or 22.9 centimeters per 30.5. It's the measure we're going to use. It's good quality paper, but you can use whatever you have at hand. That important is 100 percent cotton. So we will need also a pencil. This is an HB. It's quite soft. In any case. Do not make strong marks, so do not press with your, your pencil because otherwise it will show through the watercolor and you don't want that. This isn't mutable eraser. It helps. It's really good for erasing your marks. We will also use masking fluid. I always keep it in this small container and I will apply it with this ruling pen. But you can use your old brush. Important, that is, that the brush is old, otherwise, you will ruin your new brush or your good-quality branch with this masking fluid that is impossible to take off before you use your brush, UGA and always in a small glass. Makes dishwasher with water and then tip your brush inside before tipping it in the masking fluid like this, the masking fluid will not stick to your brush and you can save it in any case, don't do it at, I highly recommend you don't do that with a good quality brush. So you will need also to jars of water. I always keep two because I need on one jar to have poor, clean, pure clean water to afford my washes. You will need your brushes. I'm going to use an eight with a pointy tip. It's really good because it can help with details. Then I will use also a number eight round brush for washing or for helping me with other colors. We will need also flat brush for washing. You might see me using another brush like this. This is number 8 and this is number 10. This happens when I am really concentrated and any of the numbers to pick the color that is right there. It's not necessary that you do that, if you will. Would like to. It's okay. It might be handy help helpful for you. But it's not necessary just with this three brushes. It's more than enough. We will also need paper for cleaning our brushes and tipping them so that we avoid using too much water. And we will use also salt. This is plain kitchen salt. These are grains, bigger grains and small grains. You can use both or either one or the other. It's up to you. I will use a palette for mixing. This is my appetite. It's a mass, I'm sorry. I apologize. And this one is really handy because it has lots of space for mixing. I bought this one and Amazon if you're interested to know. Okay, and on our next step we will have a look now at the colors. First one is going to be Mayan Yellow. This is a color I bought from Daniel Smith. What you can do is if you don't have this one and you have this lemon yellow or a lighter yellow at home, you can mix this yellow that you have with a bit of ocher. And you will get a bit more of yellow. You will get a similar color. Of course, you need to test it in order to achieve the right quantity that you have to apply from one side of the other. This one, I feel that I put a little bit too much of ocher. So I'm going to repeat the process here. With less ocher and more lemon. This is too much. And it starts to look more like a deeper yellow. Naples yellows. But not so much. We won't need too much of just a bit. We will need burnt sienna. Then we will need sepia, neutral tint. If you then have neutral tint, but you do have ultramarine blue that we are going to need. You can mix ultramarine blue and burnt sienna. And by applying the right amount, you will get a gray shade. I don't know if you check out my class on the light house with the wave crashing on it. But here I use, in the class, and this class, I use a lot, this color for the waves. And then we'll, we will need also a violet. I'm using imperial purple. I like the effect of imperial bubble, but you can feel free to use violet, permanent Sap Green. Okay, so now let's talk about Marianne, dark blue and indigo. Not, it's not always easy to find the color that you see on line. It depends on mostly where you live. If your supply shop has the colors that you're looking for. In Italy, It's not difficult to find Daniel Smith nowadays. So I like this color very much. It's the Mayan dark blue. And I feel it is a slightly darker than indigo, which I love very much in deal too. I'm removing a bit of colors so you can see, I love them both. There are just beautiful. The same. They're not the same colors, but they will serve both the purpose. So you don't have to go and buy indigo if you have Mayan dark or vice versa. It depends on the project you're doing for this project is perfect. Both of them clean it and do it again here. We will mainly use this for the leaves and to give more highlight to the painting. Okay, coupled mortal mess, one single pigment color I didn't find just yet how to get this color by mixing others. Just do this right color. I made an eye test and this is coupled more dome. And this is a mix of violet, a bit of red, and the blue and burnt sienna, so it's not the same. So in this case, if you don't have it, you can avoid it by using burnt amber and burnt sienna if you like. If you would like to go and buy it, you might find it useful in the future, also for painting landscapes and trees. So let's start with the sketching now. 3. Sketch with perspective: Hi, Welcome to my class. We will now start sketching with our pencil and eraser. First, we need to place our horizontal line, which is going to be not at the center of the paper, but just below about here. 1 third, we will trace our line by taking the measures, helping ourselves with the pencil and our fingers that will touch the border of the canvas. And make this, we will be able to trace a straight line. Otherwise you can use your ruler if you prefer. Next, we will place our son not at the center of the paper, but a bit more on the right side to create an interesting composition. Here is our vanishing point. And the sun is going to be at about one finger above our horizon line. I recommend you sketch your son with a light hand. Otherwise, the graphite will show through the light watercolor ones painted, and we don't want that effect. This is our vanishing point. And the point where all parallel lines seem to meet. This rule of perspective helps us sketch a realistic landscape. Let's trace our pathway. One line goes more to the left and the other one is a little bit more straight and goes towards us. Our next lines are going to define whether the trees are going to be placed. So the first one is for the trees at the background, just a little bit above the corner. And the next is for the tree on the foreground. I find it also helpful to trace my line to define where the foreground tree starts at the top of the paper. So I'm going to trace my hairpin line and about this high and join it with the vanishing point. But I'm keeping in mind that this area is supposed to be very light. It's surrounding the sun. So we don't want to show through watercolors. We need to sketch this very lightly. We need now to repeat the process on the left side of the paper by sketching our lives where the foreground and background of the trees start. And we will do the same with the upper left side of the paper. Now that we sketched the bones, like say, of our painting, it will be easier to place all the objects without losing perspective and space. Let's define our pathway without being too detailed. It starts at the vanishing point, follows the perspective line makes a curve here where the leaves lie and follows down. And the same thing on the right side, following the perspective line and goes down. We will trace our foreground tree starting from the next parallel line and tracing app to the vertical parallel line. You might be tempted. So this is just to remind you, avoid straight lines as trees are not lean. Yael. Now we will finish sketching our foreground tree by placing the right side a bit above the corner. Don't be afraid, just remember not to trace a straight line either like this. I'm erasing it and tracing my tree a bit thicker. Or that looks much better now. Okay, I am now going to add some details to remind me shadows and bombs and so on. Not too much detail, just a bit. Okay, let's focus on the foreground tree at the left side of our Canvas. This is the parallel line. We're going to use our tree. We'll start at about two or three fingers from the canvas. But here it will go up diagonal to the vertical parallel line here, and then change direction again. So it's not going to be straight. So let's go up. Pay attention here. It curves a bit. It's not straight. So as about this distance here, and we just go up until we reach the top of the canvas. And now we designed the other part, the tree so we can gave it a shape. We start from this same diagonal line and we move upwards. Well, I'm defining some details to remind me of the contrast between light and dark. And I am going to smoothen this curve, that island like so much. I wanted to focus now on the tree that is behind, but on the same parallel line as the foreground tree. As you can see, I already did the design the trunk and going up with a branch near our firm ground tree. This is the branch here will be some greenery. It goes down the branch and now going to sketch the tree behind, it looks like is if they touch each other, these are two branches that cross each other. And from the base of the parallel line note this is not good. Erasing it and doing it again. I'm going up and slowly up until I touch the upper part of the convex. Now that we have sketched our main objects, we will place our trees that are behind, starting with our parallel lines, that are more behind. Parallel lines are there to help us. But forests have many trees even more behind in the depth. So imagine you have traced behind our parallel line, other lines and plays other trees a bit thinner. So that it gives you an idea of a forest with trees at the front and behind. Our painting is all vertical lines and it needs something that stands out. So that's why I'm going to place this tree or branch that has falling in a diagonal way towards the outside of the painting and add some branches just to remind me that this tree has many branches that come out. And now we have to place the trees behind at the lighter part of our painting. So we will help ourselves. He also here with the parallel line to place them respecting the rules of perspective. Now we have to finish with the trees at the right side. This painting is meant to be lighter at the center, it darker at the corners. So it's best not to press too hard and the graphite so that it doesn't show through the watercolor. Well, now does our sketching is ready. We can move forward to the next step. See you there. 4. Masking: Before I apply my masking fluid, I am now erasing all the lines that are in the air this area of my painting, because this is going to be the lighter part and it's, the graphite will show through the watercolor and item 1 that to apply masking fluid, I always use an old brush or low quality brush like this one. I wish it on a mix of water with dishwasher and it on a paper towel to avoid too much water when dipping it in the masking fluid. The mix of water and dishwasher will help me to preserve my brush. Now I'm ready to apply the masking fluid to all the places I want to keep white. For example, here. Hello. I'm placing this paper towel on the upper part of my canvas because I want to splatter masking fluid on the down part. You can do this by loading your brush with good quantity of masking fluid and then tapping on your brush so that the fluid just falls down from your brush directly on your painting. I am now defining some higher leaves here and there. Well, that's enough. Are you ready for the watercolor part? See you in the next step. 5. First wash: Welcome back. Now that our masking fluid is dry, we can start painting. We will start first by washing the center of our painting. Use your flat brush and clean water. Please be careful not to wash the area of the Sun. This is because the water carries and pushes the pigment everywhere. So if you wash this area and the sun gets painted with yellow or Naples, we will lose our strongest light source, which is the white of the sun. You probably noticed that I am wetting this area with clean water. Also, the trees in the front, but I am avoiding the left, outer left, and outer right side. This is because I want the light to reflect on the trees in the front. But I don't want the outer parts to be touched by eight because there are going to be darker. I'm now using a mixture of Mayan Yellow and enables to create a pale shade of yellow. And I am applying it around the sun, but carefully avoiding to paint inside of the Sun. And I am doing circles that go out and increase the ratio because I want to push the color outside far away from the sun. We might clean brush. I am removing a bit of the color around the sun to avoid roughness in the transition from the white to the yellow. Next, I'm going to apply orange to the painting. And I am painting in circles just like I did before with the yellow. And I am trying to create harmony and the smooth transition in between this yellow and the orange I am applying. I feel it needs here a bit of yellow with enables. So I'm going to add and create a lighter orange like this. With the help of my flat brush, clean with clean water, I am smoothing this area. I am doing like this from light to dark, not vice-versa, because otherwise, I was spoiled the painting by mixing the orange to the lighter part, and I don't want that. I am also removing a bit of pigment on the path way because I think it's too much and we don't need it now. It starts looking good. Now that we have done Nain say we can concentrate on the outer side. Our next step is going to paint the darker shades of our painting. So we will need imperial purple or violet, whatever you have at hand, and diluted with quite a good quantity of water. Okay, this is going to be the value that we need. So we will start painting at the borders, barely touching the orange wash that we need already. Next we will mix imperial purple with my dark blue or indigo and obtain this value. Following this, we will apply this color to the left side of our camera's working. Wet on dry from dark to light, which is quite unusual. You should always work from light to dark, but in this case it shouldn't be a problem. Don't worry about the imperfections. Because later on our trees are going to be painted on top and you will hardly see them. Now we need to concentrate on the transition of colors. We have the darker part, but we need a lighter shade because we are in proximity of the Sun. So I'm adding more violet and obtain this shade that I'm going to apply next to my darker value. Here, we need to be careful to lose the transition from light to dark. So the best option would be to take clean water and drag the color down until the bottom of the canvas. Next, we will apply this mixture on the other side of the tree to keep this transition from light to dark as realistic as possible. As you can see, I am not loading my brush with more pigment. I am dragging the colors if on the other side towards this side. So the center of my canvas, I feel that part needs to be a bit darker. So in this case, I loaded my brush and I darken this area. This area is a green spot. So we will apply now a permanent sap green on top of our Mayan blue plus imperial purple mixture. This area is going to be wet. So as soon as you apply the painting, the pigment is going to spread like you see here. Now let's finish this side of our forest work first and lighter value of purple plus indigo or dark blue. And then increase the value by applying more powerful and more dark blue and less water. Now, add a touch of orange to the mix already present on your brush to paint the ground. So now we will work with the Mayan dark blue or indigo as we want to enhance the darkness in the woods. I see on my painting, I lost the harmony from one year to the other side. Now I'm applying purple, too small Senate. And the left side of my painting needs a bit of a reinforcement. I'm now adding more Mayan blue or indigo to this part. While being wet, watercolor pigments appear in tens, but then when dry you might find them tone down. This is very common through practice. And depending on the subject you paint and what you want to achieve, you will soon discover what is best suitable for you. Just remember that some projects need several hands and washes and some others are just perfect with just one hand. 6. Paint the trees p: Welcome back. Now we will need to prepare our color mixture for the next step. I'm now preparing yellow ocher, plenty of it so I can use it freely while painting and a mixture of yellow ocher with burnt amber. We will also need sepia. Always test your colors so you know that you don't do a mistake. I'm now preparing the gray shade, which is a mixture of blue, ultramarine and burnt amber. If it's two greeny, I'm adding more blue water marine, if it's too dark, I'm adding more water to lighten it up. Now, I'm adding a touch of yellow ocher to get the shade I need. Now, I'm grabbing my number eight brush and my number 4 brush. I will use one for applying the color and the other one is going to be cleaned loaded with enough water to drag the color down or up as I need. We'll start with the second tree. On the left. I am applying yellow ocher and diluting the base with clean my clean brush. I am now dragging the yellow ocher upwards with my brush and avoiding to overlap the tree that is in the front. Because remember this tree is more behind. While wet, I am applying my mixture of yellow ocher and burnt umber on the left side of the tree. Remember that the light source comes from the right in this occasion. So the right side of the trees are going to be lighter than the left side. Like this, we create dimension. I am now darken it with a bit of sepia, but avoid applying it all over the place. Otherwise, we would lose this effect of contrast between light and dark. If you feel that it's spreading everywhere, most probably your brush is too loaded with water. So try to dry your brush with a bit of paper, like I'm doing here, just the belly of your brush. So like this, you will control better the flow of the water on your paper. I'm still using the sepia to darken some parts of the tree. And then I will use my clean brush to dilute this hard edges. I don't want at the bottom. Now I'm going to repeat the process by using my yellow ocher first, always, always the lightest color in this case. So I'm dragging the corner upwards and building my tree. Now, I'm repeating the process by applying my mixture of yellow ocher and burnt amber and working my tree or it's using a second brush just loaded with water can be very helpful to correct mistakes or remove color to create light. As you can see, I just pick my permanent sap green and I will mix it with a touch of my Mayan Yellow. Or if you have a cadmium dark yellow, it's perfectly fine. I'm doing this to apply the color. The base of our tree trunk because it has some greenery that is growing there. I'm thinking now my sepia to work the left side of this tree like we did on the tree before. Unfortunately, my number eight brush was too much loaded with water, so the sepia color just went everywhere freely. So I'm taking my number 4 brush and without the excess of water, I'm just removing the corner that I think is too much and the access of CAPI that I've see here, this part needs a touch of yellow ocher just to lighten it a little bit more because the savior just covered everything. So I'm just adding a bit of yellow ocher on this Barth. Trees are just not linear. I said at the beginning of this class. So I'm adding here and there some signs that help the viewer to recognize this as a tree and not to lie parallel lines printed together inside and not even painted straight. This is just add some touches here and there while it's wet because like this, the color merges with the color before and it looks really realistic and nice. As you can see, I'm going back to the first tree because now that is dry. I realized that the coder is just too light. I'm applying API, the API on top of it. This can happen very often that you have the feeling that you have done the right value and hue. But once dry, it just tones down, does leave it to dry completely and then you can apply another hand like it is, you avoid spoiling it. Now, I'm picking my yellow ocher to create my tree. I'm starting to paint from here, unfortunately my hand this way, so you can see very well. Now it's much better. And I'm repeating the same process as we did before. Just drag the color down and continue with the next color. Okay. Hi. For this tree, I'm going to use burnt sienna. Until now we just used burnt umber and sepia. These are darker browns and I need something with a bit of orange that reminds us autumn. And this burn CNS, just two beautiful, and this fits very well here in this scene. Unfortunately, I'm applying it with a brush that ought to be clean because I'm using this brush to remove color and create light. We'll have to clean it thoroughly after. So I can avoid having burnt sienna everywhere when using it later. Now, with my clean brush, I am removing color to create highlights. Okay. Okay. Tree was not planned, so I don't see the sketch under that, but I believe there is too much space in between these two trees that are near it. So I'm just applying my yellow ocher and create a new tree here. Now we finally get to use our gray mixture of blue, ultramarine, burnt umber, and a touch of yellow ocher. We will continue applying it on the left side as we did until now on all other trees. Well then we've got our left side righty. Now we have to work on the right side, which is lighter, so we will need less darker tones. So let's start first with our yellow ocher with a touch of burnt umber, not too much, and very deal with it. We will firstly apply a bit of color at the bottom, and then with our clean brush we will drag the color upwards until it completely disappears. Remember always to dilute the bottom of the tree like this, you avoid rough edges. There is another tree here behind. And I'm still using my number 4 brush. So we will apply the color and then clean the brush and drag the color outwards until it disappears in the light. Now we will paint this tree, and since it's near to the viewer, the value is more intense. We will apply our yellow ocher mixture with burnt amber and clean our brush and drag the color until the end of the paper. Until now we place the shadow on the left side of the tree you, because the light was coming from the right side. Here it is the opposite side. We will now plays burnt sienna on the right side of the tree and avoid painting too much on the left side where the sun is reflecting and creating light on the tree. This branch needs a bit more darkening. So I am applying here my sapiens, which is the color I was using. Reason Dan till now and doing the same thing, habit of color and then drag the color with your number 4 brush or your brush, the brush you're using, clean with water, it drag it upwards until the value disappears, it goes lighter and lighter app there. We will also enhance the that is behind like this and the right side of our tree. So all the light will be concentrated on the left side. I find it kind of disturbing this lack of transition in between the tree with just painted and the two left lighter ones. So I'm adding burnt sienna and with my clean brush and dragging the color afterwards, just like we did until now. But if you feel that in your artwork, it's perfect like that. Don't touch it, just go forward. Well, this module has been done and we finished. And now we will proceed with our next step. 7. Paint the trees p: Hi, welcome back. So now we will need to paint our trees behind. And for this, we will need a mixture of neutral tint and imperial purple to obtain this shade. Let's start painting the trees on the left side. We will start with the first one near to the main one. As you can see, I'm painting here with yellow ocher. And I'm going to pick some burnt sienna and applying on my tree. By using the wet-on-wet technique, the color will flow through up and down and mix with my yellow ocher. Now we'll apply a lighter mixture of neutral tint, imperial purple or violet. But this is too much water. So I'm going to drag this shape upwards. As you can see, it's really light. And I will let it dry and come back later to dark and the left side of the tree. For our next tree, I will use burnt umber. But as soon as I reach the upper part, I want it to disappear in the shades. So I will dilute it with water to avoid a strong value. With a darker shade. I'm going back to my first tree and apply it on the left side to give it structure. I am zooming now anion. So you can see how I apply a darker tone to this tree. And before it dries, I will pick up my brush number 4, clean it with water, and then tap it on my paper tower because now an excessive water would spoil this painting. And now we'll attempt to remove color on my trees. And like this, I create highlights. Try to keep your brush as right sided as possible because if you touch the left side that is supposed to be dark, you're not creating a realistic highlight. The sun comes from the right, right? So it's going to highlight the right side of the tree. I need to darken this part. So I will apply my mixture of neutral tint and imperial purple. Or if you have violet, you use violet here. Remember to their, you'd always the base of the tree. Like this user not create rough edges. For the tree behind. I am adding a touch of Saint-Pierre to my mixture. Knew 210 plus imperial purple or violet with a very diluted. Mixture of neutral tint and purple and a touch of sepia. We will paint our next tree. As you can see, it's not at strong shade and this is because it is in-between the shadows. I feel there is a gap in-between these two trees. So I will paint another one in between and position it a bit behind. For this tree, we're going to use our mixture of neutrality and imperial purple or violet. But we will not tell you that much because we need a darker shade. I'm now zooming in and moving the painting just 1 second. So you can see better. Just drag the color upwards and try to dilute the upper part that it eventually disappears in the shadows. Well, this area is dry, so I'm going to create another tree by using the same shade I used before. Now we will apply a stronger mixture of Newton tint and imperial purple or violet to the left side of our tree and add another darker tree just near to it. Now we can leave it as is or enhance our bed. I am applying a mixture of imperial purple or violet with sepia to this tree here because they nearly touch and there is no distinction in between them. I'm just dragging the color upwards. I see a gap in between these trees and some others need a bit of reinforcement on the darker sides. So I will pick up my diluted mixture of neutral tint and imperial purple. And I will touch here and there, a tree, but it doesn't need much, so you can avoid if you want. And I'm going to place here in between another tree behind quite thin because it's far away. Now we can work on the right side. So we will need two shades mostly, but based on a gray bases. So we will need gray and gray brown. This is the gray and it's mixed with a bit of sepia. To obtain this gray brown, we will start with a gray brown because we need to paint a tree that is more near to the viewer. Here. Now we will use the gray, not the gray brown, just to gray, to paint the tree that is more behind, just drag the color upwards. On the next tree, you will notice that I'm leaving a gap. This is because. Another object is going to come here in between. Next, I will apply a mixture of neutral tint and a bit of sepia because I want a dark shade for the tree that I'm going to place here. So I'm starting at this point, testing my color. Okay, looks fine. And I'm going upwards. I'm leaving a gap here for the branch that is crossing this tree. Hi, switching to my mixture of imperial purple or violet. If you have with a touch of sepia, I'm applying the color with one brush and then with my clean brush, I'm dragging the color upwards. I will now reinforce this tree with a darker shade on the left side. Now, you might think, why isn't she highlighting the left side of the street? The sun is at the center. Well, in this case, there must be some big element in between that we don't see, that is blocking the sunlight from highlighting these trees in the usual way like we have done on the left side of this painting. But as you can see, I am also removing some color because the light does reflect on these trees, but not directly from behind. I'm adding here a couple of banded trees to create more interests to the eye. To cut this monotonous straight trees, which are not realistic in a forest. So you can feel free now too. Add your bended trees, fallen trees as, as you wish. Just be careful not to overlap the center of the painting and do not concentrate right now on small and thin branches. We will do this at the end when we finish all the trees of our painting. In order to make it more realistic and break these gray shades because some light mass come through. I am painting this tree with plain burnt umber. Okay, This is our last tree with my mixture of neutral tint, imperial violet with a touch of sepia. I am adding here my last tree that is going to disappear in the shadows above. 8. Paint the main tree p: We'll paint this tree now. We need for this Naples yellow, very diluted. I'm still using the number four and number eight, but I am introducing now number ten, just for washing the area with clean water. You can also avoid this step and paint with your brush loaded with color on the wet on dry technique. But I love the effect I have when introducing the pigment on the wet area. Now that this area is wet, I'm applying my Naples yellow. And here and there I will highlight and create some variation with my yellow ocher. Now I will introduce a sepia. I'm loading my brush with pigment and not too much water. Because if I apply now more water to an already wet area, I will lose control of my painting. I'm picking my other brush now, washed and I tapped it on my paper towel to avoid too much water. And I'm attempting to drag the color, the sepia color down. What I don't want is to cover all of this area with sepia like this, the lighter colors will disappear. Now I'm switching my brush. I'm taking the one loaded with sepia and defining the left side of my tree. As you can notice, there is another branch, it's totally white that is crossing the one behind. I'm applying here and there is some color to create variation. Here's my suggestion to get the breath. Look at your tree. Think, how does a tree look like? And my answer is, I'm perfect. To me, a tree has many shades and many bumps. So when I apply here and there, I tried to focus on them. And I try to remind myself that it needs also loads of light. I'm zooming in now to show you how I'm applying avail of sap green on the tree. My tree here needs a bit more of shade, so I'm applying more sepia to this side to enhance the shadows. I'm sorry about the wrong angle of the camera. But I assure you, apart from my hand, you are not missing anything. In fact, the branch finishes just there where you see the tip of my brush. Now I'm changing my brush and I'm applying a lighter tone. It's Naples yellow. And next, I will darken this up with a bit of yellow ocher. Now we need to give a shape to this tree so we will cover the left side with our sepia because it's hidden from the sun so it's darker. I'm still using my sepia. I will now give a form to this branch by going up with my brush slowly. I see my color is running out so well and have to dip my brush again on this sepia hue and rain forests. All of this area that I feel is to paid. Okay. Okay. Um, now cleaning my brush and tapping it on the paper towel. And next time we're removing the color on the tree because I want to create highlight. Sorry about the wrong angle of my hand. You couldn't see what I was doing, but I am sure you understood what you have to do because we have done this quite often in this class. And now I am applying sepia on this side to give a shape to my tree and structure. Now we're going to use a very diluted sepia and paint this branch. Make it like it's going to disappear, like fade away in the sky. To not enhance this branch because it goes, it is growing behind. It doesn't come to the viewer. 9. Paint Main Tree p: Welcome back. This is salt. This is what remained from another project that I did before, but it's just normal styled that you use in the kitchen. Salt is useful to create texture because it absorbs the water. And it creates this beautiful texture that we need for painting these two trees here. With the help of my flat brush. I'm wetting this area, but I'm careful not to create pools of water. When I'm ready, I will apply my colors and just the last, I will apply the salt on top of it. Now, we will need to work very fast because if the color dries before we apply the salt, we won't notice any difference. So what am I doing now is applying my yellow ocher on this white space. Oh, this is ready to pay. So I'm picking more of my yellow ocher and reinforce this side of the tree. Soon after, I am picking my burnt sienna and paint this area near to this yellow ocher and a bit on top. Now I'm applying my permanent sap green on this area. And I'm actually enjoying how these colors at some point merged together and the beautiful contrast they create on the paper. I am now switching directly to sepia and apply it on the left side of the tree. Remember that this part of the tree should be very dark because no light from the sun is shining directly on it. It is important to keep in mind that we should not mix too much the colors on our paper. Otherwise, we create these moneyness and we lose the brilliancy of our colors. Watercolor looks very alive and vivid while it's wet and it's a Alive because I don't find any other but the word but once dry, it loses its tone, right? So what do we have to do? Because if it dries, it loses its tone and the salt also does absorb a bit of it. The best thing is to load our brush with enough pigment to paint this area without touching it too much. Especially when you need to take care that your brush is not too much loaded with water. Because as I explained to you before, if the surface is really wet and your brush is loaded with too much water, that pigment will spread everywhere and it's going to be impossible for you to control it. Now as you can see, my surface is wet but not soaking wet. That's why the color spreads a bit, but it doesn't cover the entire area and mixes with the other colors. Now we have to work fast. Apply your salt on the wet area inside of your tree. You can use small grains or bigger grades. The texture effect will be different if you use bigger or smaller. Now as you can see, I'm putting here and there's some salt and then leave it to dry. 10. Paint the main tree p: Now that we have done this one, we will paint this tree with our flat brush and clean water will wash this area. Please avoid having pools of water, but be sure that it's all entirely wet. Now, we will apply our yellow ocher here and there. You will need to cover the entire area is just to give a light touch to our tree. And then I am applying my permanent sap green on those whitespaces that I left, touching barely the yellow ocher, not mixing too much. You need to remember that the tree needs to be wet when applying the salt. Otherwise, it won't react with the pigment. And we want get the texture we are looking for. Sorry if I repeat this, but remember that the surface is really wet. If your brush is loaded with too much water, the pigment will spread freely following the movement of the water. And like this, you will lose control on your painting. On the other hand, it is important also that you apply enough pigment so the consistency should be creamy, not watery, like this. Once dry, the tree won't look pale, especially because we are applying salt on top of it. We need to be certain that we're applying enough color on our tree. I am now applying diluted burnt sienna on this part of the tree that receives loads of lights so the color is not that strong. And next I will apply a milk you're burnt sienna, so less water and more pigment on this area. To create variation. Now start looking at your tree and working freely. Avoid making straight lines. Just stop here and there with your brush and see how they affect results to you. Please do not cover all the greenery part. It is important that you preserve it. And don't worry, we're going to switch now to our burnt umber and create more variation and shadows so that our tree, because as much as realistic as possible, I am now applying my burnt umber. This is the next step. And I love these colors. They're interact very well with each other. And they do create this fantastic effect and texture on, on my tree. When you feel you're ready, you can continue with sepia, which is another tone of brown, it's darker tone. So I am applying it here because there is shadow. And I am going up on my tree to create the form because otherwise it disappears on the tree that should be behind. So I am giving a line and a definition to my tree. Here and there's some dark spots and bars gave from our definition and our realistic touch to our tree. Next, I'm applying a mixture of neutral tint and imperial purple violet. This is for the shadows barred, you think maybe where the CPAs enough. So if you feel like it's okay, you're painting, you just leave it like that for me. I want to create a connection with what is behind. So I feel that a bit of the shadow that is behind needs to be placed also in the front. Like this. It feels like they are all connected. I hope I make myself understood. The concept of shadow behind the numbers. It's very difficult to explain, but it's just for the purpose of harmony. To me, this green looks too bright. So I'm going to mix a bit of permanent green with my neutral tint. And I am applying it here and there to create variation in this light green. But I'm not going to cover all the light green. I needed to stay there. I'm just applying it here and there and try to give a form to this tree. Remember a half to work very fast because if this dries out before I finish, the salt will not do any effect on top of it. Well then, now fast we will pick our salt. Small grains is time and we will repeat the process like we did it on the other tree by applying it on our wet surface fast before it dries out because otherwise, the salt will not interact with our pigment and the water. You might ask yourself why I'm using only small grains. There is no particular reason. I just pick this one now. Now we are working in this area, but before I am removing the solid that felt a here, we then needed so with my flat brush and clean water, I am washing this area. Now we need to prepare. Our first wash is going to be a mixture of coupled mortem and Naples yellow. Now, apply this color without making an entire wash just here and there. To not paint the entire area with this color. I feel that the base behind needs to be lightened up. So it's too much of a contrast between the sun, the sky, and the ground. So I will watch this away with my flat brush, take it up it away, but still needs another color. So I'm going to apply a bit of Naples yellow here and spread it well. And then continue with my mixture of coupled Martin and Naples yellow. As you can see now, I am applying coupled more dome here and there, but not covering the entire area, just creating some variation. Well, I believe this is enough. I'm going to leave it to dry so I can come back later and finish my leaves and the branches. See you in the next class. 11. Forest leafs: Well, I prepared my palette beforehand with orange burnt CNS API, yellow ocher. For this technique, you can use a paper towel and do like I'm doing here. And then you can pick your color and place it on the paper like a stamp. But the pivot our absorbs the color. So you might find yourself repeating the process of picking more and more pigment in order to get the result. On the other hand, you can use a sponge-like mine. This one is really old. I keep on using it, that it's a synthetic sponge. They wash continuously. You can see here it's not very well washed. And I use this for picking the color and creating my leaves now. Okay, now with our sponge, we can bake the first Scholar, which is always going to be the lightest now, yellow ocher. And we will place our leaves here and there. Apply also in the front and behind the tree, the front tree. And now we will apply orange always with our sponge or paper towel, we will apply orange here and there and a bit of burnt sienna as well. You can mix them if you like. Try to leave the center area free though the leaves should lie around the trees. Do not cover the whole passage. Now with it just pure burnt sienna, we will continue applying our leafs. Starting to look good right? Now we will apply a bit of sepia at the base of the trees and in-between the leaves. I am now getting myself inspire then make seeing a bit of burnt sienna and CAPI and applying here and there to create a midtone and between the lightest and the darkest color. Hi. Okay, I feel this is enough. So I am now taking my brush and applying my permanent green sap color here and there to create some grass at the base of the trees. You can also splatter that color like I did here. But I did though, get much effect from it because it's already loaded with too much pigment. So I'm just going to apply here and there a bit of grass. And I think we are nearly ready now, right. 12. Final steps: Once my watercolor is dry, I remove all the salt and now I can appreciate this lovely texture, the solid created by interacting with my pigment. I'd love to see how it came out for you guys. Next, we will remove our masking fluid. I usually do it with my hands. I know some of you must have a special rubber for this. So feel free to use what suits you best. I'm going a little bit fast-forward here because otherwise it's going to take too long with a video. Now it's time for our final touches. So I'm using burnt umber and pointy tip brush. And I am defining my branches. Be careful not to do straight lines. So just little zigzags and curves, branches are not straight. Up. Next, we'll mix neutral tint and with a bit of sepia to define our darker branches. Hi. Okay. I'm explaining here with my voice when I'm doing these, be careful. So because now my hand is in-between unfortunately, and the camera has not the right angle. So what I'm doing is removing a bit of the pigment with a clean brush. Why am I doing this? It's because we are near the source of light. So we have to leave some spaces. The more lighter, but it also has some dark areas. It is branch. So I am removing a bit of the pigment and applying in some spots a bed of my dark mixture, neutral tint with a touch of sepia, just to remind you that this is the color I'm using now. Well, now you can alternate your colors. You can use burnt sienna, burnt umber, sepia. Just keep in mind that the choir needs to be diluted because you are near the source of light, so your branches need to be lighter than the ones behind. Another important point that I want to stress about is that this branch is need to merge with your tree. So in order to do that, I recommend you use a clean brush with water and merge this color together. Otherwise, it would look like a stick coming out, but not really part of our tree. Okay. I feel my left center is ready, so I am concentrating now on the center right of my paper. I'm using now burnt umber and I will trace my branch from the middle are boards. Now I just zoomed in so you can see better how I'm tracing my branch. Okay, guys, Now I think it's time for me to remain silent for a while. So just to remind you, use your three colors as you please. Burnt umber, burnt sienna and sepia. Remember that near to their source of light, you need to dilute the color. And remember to merge your branches with your tree. Hi. Okay. Okay. Hello. Okay. Well, you can avoid this step if you like, but I feel I need to add a tree here. So with my mixture of neutral tint and saved, yeah, I am going upwards and defining another tree that goes behind this column one. I am done now with the right side. So I'm beginning my neutron tend imperial Thurber API and defining this fallen tree on the left side. Some light is reflecting on this tree. So I'm adding a touch of Naples yellow on one of its branches. Hi. My next step is going to be painting these leaves with a mixture of yellow ocher and burnt sienna. Hi. Okay. Hello. And then adding orange to enhance the color to make them stand out. Hi. While I'm finishing my last leaves on this painting, please do not make too many, just a few here and there. I would like to spend a few words regarding this angle where the tree breaks, there is some gap. I'm going to zoom in to show you now. Okay, this is the angle. And after a while thinking about what I'm going to do with this greenery and the gap in between the tree. I decided I would leave it as is because it doesn't really disturb me. Glass, I feel that if I add some color and now at this stage, I'm going to ruin the harmony of the composition. So when I projected this class, I was thinking about teaching you the planes of color, dark, light behind middle and the front. And adding here a color is going to put this area too much upfront, which I don't want. So it's fine like this. There is a light wash of green there, a hint of leaves. And I'm living like this. I'm living the good life is. But and this is a task for you. You could prove me wrong. Why not? Why then to think about what is best for you, what you would like to do with this area and come up with your solution. I would love to hear and to see what is going to be. And please don't hate me most of this task. Okay? Okay. Well, now that we've reached the end, we can remove our masking tape. And congratulations, and I hope you enjoyed this class. I enjoyed it a lot, making it for you. And I hope you learned from what I wanted to teach you. And please let me know your thoughts and show me your artworks and Skillshare. 13. Thank you: Well congratulations. We've come to the end of this class. I really would love to see your artwork posted on schedule. Please let me know. If you have any doubts. Please write me and I'll answer as soon as possible before I leave you. Thank you so much. See you in my next class.