Watercolor Christmas - Ten Minute Trees! | Sweetseasonsart Cris | Skillshare

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Watercolor Christmas - Ten Minute Trees!

teacher avatar Sweetseasonsart Cris, Happy Holiday Wreath Class is Live!

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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

7 Lessons (51m)
    • 1. Ten Minute Trees - Introduction

      1:07
    • 2. Ten Minute Trees - Supplies

      2:17
    • 3. Ten Minute Trees - Ghost Tree

      13:57
    • 4. Ten Minute Trees - Traditional Tree

      11:05
    • 5. Ten Minute Trees - Whimsical Tree

      12:00
    • 6. Ten Minute Trees - Fuzzy (Dry Brush) Tree

      10:19
    • 7. Painting Trees - Final Thoughts

      0:34
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About This Class

In this class you will learn four quick and simple ways to paint different styles of pine trees! Great for beginners or more experienced painters!  Each type of tree takes less than 10 minutes, leaving you with plenty of time to practice and to make fun gift tags and cards for your holiday season!  If you are looking for a quick and practical class - you've found it!  Happy painting!

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Meet Your Teacher

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Sweetseasonsart Cris

Happy Holiday Wreath Class is Live!

Teacher

Hello, I'm Cris, the founder of Sweet Seasons.  Welcome!!   I am a watercolor artist based in Richmond, Virginia.  I love all things bright and floral and I have a special affinity for wreaths!  My style is described as loose, but I love finding inspiration from vintage botanical art and nature.  I hope you'll join me for a wreath class or maybe for one of my By the Book series where we loosely interpret vintage art.  You can follow me on Instagram at @sweetseasonsart and find my Society6 shop at www.society6.com/sweetseasonsart  Thank you for visiting and happy painting!!!      

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Transcripts

1. Ten Minute Trees - Introduction: Hi everyone. It's Chris and sweet seasons aren't. Welcome to my class. 10-minute trees. I love to paint pine trees and any kind of tree really, but especially pine trees for the holidays and winter designs. They feature prominently in a lot of my designs and patterns. And they're really perfect for winter and the holiday season. Today, we're going to do some quick and easy techniques that are perfect for beginners or more experienced painters. Your assignment will be to pay some trees, post submit a project to show them to me on Instagram or I love to see them and story them and share your work. I really can't wait to see what you do with this class. We're going to paint a ghost tree, a more traditional Tree, a whimsical tree, a dry brush, fuzzy tree I like to call it. We will do together. Let's go to supplies and get started on our project. 2. Ten Minute Trees - Supplies: All right guys, let's talk supplies to really quick. See you happy for Charles, you for blotting clean jar of water for rinsing. I like to use it's also John, whenever you have Andy's fine arches cold press is the watercolor paper that I'm going to use. I like to use a block. You don't need to do that. You can use Canson, Stonehenge, any other kind of paper that you like, Fabriano, if you'd like that, as long as it is a 140 pounds, a 100% cotton, it'll be great brushes. I have an assortment here of round brushes and different sizes. From a 1210 down to a two, that's a six in there. I like to use around brush. They offer a lot of flexibility. And I also have a flat brush that has stiffer bristles and we'll use that for some dry brushing techniques. These are pitch and ladder and Zen art supplies, brushes, and they're both great, so free for 30 days, whatever you have on hand. And lastly, let's talk about our paints. So because we're Christmas and foliage and grains for our trees, this is my messy palette, sorry, it's always looks like this. I never clean. It will use a lot of different greens. If you want warmer greens, maybe a green, gold, and olive green. Definitely have a Sap Green on hand. That's great for mixing and blending. I also have a deep sea green there and a hookers green. So those are all migraines. And I will put a paint supply list up for you. And I love to use indigo with grains. It's great for blending. It gives us some cool blue tones. You'll see a bunch of Brown's, they're burnt, umber, RA, bar, burnt sienna. And finally, I think you should have a black on hand. I loved Mars Black because it has great granulation and I like to blended in to get darker tones. Not everybody loves to use a black to make things darker, so you don't need to do that, but I like to use a little black for those deeper tones that give us some shadows and depth. This is really it for supplies guys. And again, I'll put a paint supply list up, but I think we should jump into painting. 3. Ten Minute Trees - Ghost Tree: Okay, first off, I'd like to say that everybody has their own style of trees. There are lots of different ways to paint them in. I, myself paid them different ways almost every time. But I'd like to experiment with some different styles. And so I think that's fun and we'll practice some different approaches today as we, as we paint. These are just some I doodles while I was preparing for this class. We'll do some wet on what? We'll do some wet and dry. And we will do a little bit of dry brushing technique on some of these trees. So let's jump right in. I think the first one will deal with something like this. I like to call this a ghost. I feel like it looks like a ghost thing pi in the distance and the kind of love that effect. So what I thought we would do is take one of our larger brushes. This is a ten and just get a lot of water. Because this will be our wet on wet tree. So we're going to start and this might be hard to see. You might have to look at an angle when you do it yourself. It's actually even hard for me to see while filming. So I'm just moving down in sweeping side-to-side brushstrokes. I know that's a little difficult, so I'm going to put some paint on my brush just so you get a better sense of what I'm doing here. But normally what I would do is just do this with water. Okay. So it's brushing down almost like you're sweeping something off the page, if that makes sense. We could brew. And so just get some different and I'm going to go back with a little more, just water and that sort of flick, flick the end of the brush to see him holding it here and I'm flicking the end of the brush town. You get very different results when you hold your brush close to the end, or you hold it back here or in the middle, you can get very different motion with your hands. And that's kind of important depending on what you want to see on your page. So I'm going to do now is get a bunch of, this'll be an indigo mixed with some sap and little bit of turquoise blue. And I'm going to touch a bunch of different points along this tree, focusing on the center more. And this is why when you look at a tree and not that we're trying to be realistic here. But when you look at a tree, there's less light towards the center, it's darker in the middle, the light hits the outer edges and so you get a lot lighter tone at the edges. So I'm dropping some dark tunes in here and I'm letting you see M letting the water do the work for me. See how it just disperses the paint. Now here I touched a dry part. It's not going to disperse unless I hope that. Now I'm going to get a slightly, so try this for fun. I didn't do it on this one, but slightly warmer green here. And I'm going to touch the tips. And that's interesting. This can be a very strange tree, but that's the fun of, the fun of this class. We're not trying to, everything doesn't have to be a masterpiece, I guess is my point. A lot of these things are just you trying to figure out what, what do you like. It needs to be a tree that you like, that you feel good about. And so that may not be the same style that I paint in. And that's fine. This is to show you some techniques to use while you're painting. So you get a little sharper point here. And this is a little dry out here. So I'm adding a little dry fringes. Again, you can see I'm just using a sweeping motion. I'm not pressing too hard and holding down towards the end of the brush. And I really like when it's has more contrast. So you see you have very pale to very, very dark. So I'm actually going to add in a little more indigo mixed with a little bit and Mars Black, Not a lot on this one. See how the pops in there. And just in a couple areas. And we want to overdo it. I like the contrast. So literally, if you were happy with that tree, that's your first tree. I promised this would be a quick exercise. We're done, we're done with tree number one. Let's pay another one like this for fun. And you can practice this any way you like, but different tones, different colors. But let's do another one now. I'm going to really stick with what I said. I'm gonna do one right here next to it. It's just going to be water. And I'm going to try to leave slightly more if I can see what I'm doing. Whitespace. Again, pushing out the end of the brush. Just strokes down across the middle on an edge. Not really symmetrical or I, this is all just wet and it's hard, hard to see. So let's go drop in some color. And I'm gonna touch. We're gonna get a lot of different greens going. I think I'm missing some of my my water spots here because I can't because it gets it. That's fine. We'll see what happens with this one. This is what's fun about watercolor. We're, we're really just experimenting here. And I want you to feel good about that. And knowing that like you're gonna, hey, some of the things you paint and that's okay. That's OK. You don't have to like them. I'm gonna go back with some water because honestly, having a hard time seeing what I did here. But it actually kind of already like this tree. I like these darker spots that were ended up being on the dry that I added some more water and I can see it a little bit. It's piled one on top and the whole download on my brush. Okay, go in. And now instead of sweeping motions, I'm gonna make kind of a I don't know the exact motion. Makes sense. See that's dry in there and it, but I kind of love that. End up being a little combination of what online, what are dry, can always go back in with some water and encourage movement. I guess. I'll encourage a little movement. So again, I like to call this silica ghost tree. I feel like that maybe in the distance of a landscape or something, this tree is way back, the bluer and pale or you make it the farther it will see seam away in a landscape. And of course that the size perspective. But this gives you an idea. And I really like to say, I kept some of the warmer tones that we have here out of this. And now you can see this one's drawing. Interestingly, we can go back to this one as long as it's wet and I frequently do go back to them. If I can find what parts and that kind of can add, you can add a little more to it. And I think that's really helpful on a project like this, to go back and touch what she did, let it dry a little sometimes. Hopefully not too much trees by any means. I actually like this one. I think that's kinda fun. Looks snow it looks like it snowed on that because of all the water. And this one is different with its blends and blurs. Let's do one more of these. You don't have to, if you want to skip to the next type of tree, which will be a little more structure tree. But I'm gonna do one more of these. And then we'll go back to one of these and add a trunk to him. The reason I want to go and do one more is I like to add a little bit of this what on dry technique. And we'll see if we can get a little bit of a different effect with our ghost string. Alright, so I'm gonna have a little bit of paint here. So I'm gonna add a little bit of paint to this one because I'm, I'm really can't see what I'm doing. Otherwise, I'm going to do you just a general again structure to it. A little bit of a warmer green on this one. He's like more traditional Christmas colours then keep those green, gold and SAP greens mixing those will be closer to traditional and even hookers, green can add a more traditional feel to your Christmas colours. So first we'll go in like we did before. Actually we let this dry for second. See this guy up here, look how his bleeds are going. I had loved that. So I just want to go in and touch while he's still one little more than dark because when things dry, they tend to lighten with watercolor, right? You lose some of your, your darker tones and they lose some of their vibrance as they dry, and that's just normal. We're going to use more of a SAP. And maybe a little bit of our deep sea green will keep it a little warmer on this one, we won't add as much cool down. We don't want to add a lot blacker anything. Alright, so we're gonna go underneath, underneath where we did before. We'll paint a little bit where it's one. And a little bit where it's drawn using just the tip. I'm down here on my my brush. I'm trying to find some other whitespace I left, but then blend it back up into the west. Okay, so we're adding in some of these darker flux along the edge and maybe towards the bottom. Not really sure if I like this. But the whole point is experimentation here guys. So let's just stick with it and not quit too soon, like I tend to do sometimes. And this has little more black and is going in here gonna make a little more black at the center. We talked about centers being darker. It's going to be hit or miss. Where you will paint one tree maybe you love, and then paint another one that you really don't like at all. And you're trying to recreate the first tree and it's not working. And this happens to me every day. And try this where we touch it and we sweep back. Kind of like the PDSA. That's kind of pretty so I like where that guy is for the moment. So let's go ahead and let's come back to this one and put a trunk and m just so you can see how I do it. I'll do it on the other types of trees too. But when you leave some whitespace, you can add trunk just in a couple places. So that's kind of what we're going to look at here. There's a couple of spaces here. I don't like to do it everywhere. But on most pine trees you can see some trunks 2P, you see it at the base, and then maybe we'll just have a little touch of it here. So what I'm gonna do now is get my round two. Get it wet. And I'm gonna get some Mullah Omar. Honestly, it doesn't matter, we're just doing whatever we feel like doing. And a teeny bit, but not a lot yet of ochre. No, sorry, sienna will start off with a warmer tone. Here's how it's like to do my trucks and sort of the way this one is, it's super simple to lines, right? This trunk may be too wide for this guy, but that's a good two lines. And then I'm gonna rinse and bought my brush. And then I'm just going to blend this guy in a little until I touch the guy, not in every spot. This is like the base. Now around the trunk is going to be darker on the edges and it's also going to have shadow where it goes up into the tree. And note that we need to be super precise here or are accurate to reality. But you can add in some darker towns, there's not to be a straight trunk either. So you just start start with that. I don't make it too perfect. There's, there's bark there and it has texture, so it's an E to be smooth and perfect. And then like just right here, if you were to follow that up, it seems like a little bit of the trunk. Just go backwards. It bleeds and blends into your tree. That's fine. I think that just makes it fine. I don't I don't think it matters. So that's just a quick, really quick, we'll call this our goods. And that's our first tree, and we will move to the second one next. 4. Ten Minute Trees - Traditional Tree: All right, let's try to paint a tree a little more like this. Less pale, less water. We're going to use a wet and dry technique. I'm going to stick with a ten. You could you could even go to a 12th. Will try to do that. We'll get a lot of water and we're going to mix up good bit of Sap Green from more traditional color here. Did this Sap green, but it's a little bit too bright for this. So I'm going to get a little olive green and very little bit of undersea green. I, so I like that. We're going to start with the top and new lighter strokes. We're really going to push them bigger, thicker pine strokes there, here. Ok. So just to start and it's hard to start sometimes. And I'm going to take the tip of this and push them and go in the center to not just sort of side to side, but the branches are coming towards you. Going a little heavier on one side thing in the middle. Here. This is just where the central part or doing senior leaving a good that a whitespace. We get slightly darker tones as I go. As I go down. Not only do trees tend to be darker in the center, they are closer to the ground and I have a little more shadow and that was much light. So again, add a little more, not notice I'm not using that much water. This is a fairly, fairly dry. So while its way here again, we're going to do what we normally D. I'm gonna get a lot of the darker pigment. And I'm going to go up underneath where it's wet and add in this shadow like we did before. We started this. What on dry, right? It was a dry piece of paper. We're using a wet brush. Now we're adding in a little wet on wet technique because I'm touching though the web parts, some of which are drawing very quickly. That's okay. Back in with some water, if you like. Hope blend a little of those bases. Now this is much denser tree, so I am even going to go back in with slightly darker tone. I'm going to add a little bit of Mars Black, and it seems very, extremely dark, but Mars Black also SAP to keep it from getting to all of the Mars Black and set green. They're really beautiful the other, so this is almost, it's going to look almost like a black tone rain. That's how we're going to have a paved road dark and here. Some untouched underneath and touch underneath. And just keep adding similar strokes and motions to what we were doing with our other tree. Maybe the sweep up motion that we had gelling. I really think that's a nice too. We're going to take some of the dark towns all the way out, all the way out and under. And back in towards their center. And we're not going to be afraid to use those dark towns. I know that sometimes it's hard to use a lot of pigment. It feels no extreme or a little intimidating man. We're gonna keep doing this tree. You can see it's already a little, it's shaggy are right then our first couple of trees. And I like really like down here where we have all this dark going on. I'm going to soften it a little. So you can take a dry brush. We'll see dry brush. You can soften some of what you didn't like exactly. What you put down dry brushes at thirsty brush. And it will pick up pigment and paint for you. And it will also blend for you if they're still wetness. So see how nice that is when we take a little bit of that. It looks like the shadow tucks under does not make sense. The light tones are on top and the darker tones and enter underneath, which is how it would be in a real tree. Okay, so interestingly enough, I didn't not like how this tree started, but I like where he's ending up. I really DO. I, he's asymmetrical and yet a lot of different shades going on. Maybe that's your jam too. Maybe you don't like it as much. One of the things we can do if you want to add a little whimsy, I guess to it. Because you can come in holding down low. And just very it's like a dash, so it's like a touch and a move. That touch in a move. And kinda like when he has a little even over, but also on the dry part. Think it's kinda fun to have a little bit of a lead fi ways like this does to his shininess, a little more of a buffer tree then applying maybe. If I was doing this one, I'd probably stop touching it. Now, if I were smart, we should not always see. I can't always. But I think I'd probably stop where this guy is. I might add a trunk to him, but I kinda love him the way he is. Let's try another one of these before we move on to our third type of tree. Again, I chromosomes would be kind of quick and easy. We're going to do another one right next to it and it probably won't look anything the same. That's what's kind of amazing, sometimes frustrating, but sometimes wonderful watercolor. So, and this one, I'm gonna get a little more of the blue tunes, maybe not that much. And are greens and there needs to be taken down a notch. So I'm gonna add a teeny bit of block every time I touched the black eye, usually touch my touch it in here and then I touched my paper towel because black is overpowering and if you if you get too much of it, it's hard to back it out. So again, I'm mixed whatever's on my palette. I don't try to start over unnecessarily. So this'll be a little different shade a pack. And we'll just do him right here. Now, I should have started over here, so don't drag my hand do this, but I never remember to do that. Very silly, but I just don't ever want to do it. Start with this, will take a slightly, slightly lighter hand here. Let's see. I'm choking back up on my thing. I'm using a little more last control. This is more control, right? This has lost control. So I'm going to use less control on this and see if I can get a different, different effect is very blue. Blue spruce is a gorgeous, gorgeous fir tree. Little more black. And it's a little extreme maybe before this dries because it's looking pretty dry already in here. Now, you can see if you look close and I'll zoom along that black that gives that granulation. You can see it coming like right in here. I really love. And I had a little in here where it's try. So he's going to be different and different tree. Think already very, very different than this one. But similar technique and TM layering, right? So I'm going to come in with some water at the bottom. And then I'm going to touch it back in with some of our darker who were black fan. Maybe too much. It's maybe too much, but when it dries, it might not be. So we'll see seems a little aggressively to arc map like I love, I love the look of that bleed there. So sometimes it's good to see where it goes. It's hard to go back and correct watercolor, but it's not impossible depending on what you're dealing. To go back in with wet, sometimes in pick pigment up or paint over when it's dry. You can sometimes paint over things with a darker color. Obviously, you can't go back later. I don't know how I feel about it. But maybe this is a tree that you really like or maybe a style that you like. I don't, it's not bad, it's just different and it's not really what I was going for. And that's fine art. Before really do a trick. Quick drunk. I'm gonna start with a little more warm for him than I normally would because he's got some more warmer tones to try to make him fairly straight and recognized that his trunk is going to come out here and put my two edges right. Linda level from the center is trinkets little wider. Doesn't have an even base, right? Anyway. So CPI is really blended with some our unburied now. Make it dark because it goes up under this little branch. So it looks like it's behind me talking back up, coming down. I'd like to contrast there with the dark gray. And then we'll just put a little more ground in there maybe. So I actually like that trumps the way it is. So this tray to me is like the one I liked so far from what we've done today. And you might disagree that he's not the one, but I like this one. So this was our second style tree, a little fatter, a little thicker. Maybe the more traditional. And next we are going to try it very wispy, wild ONE. 5. Ten Minute Trees - Whimsical Tree: Okay guys, let's start our third type of tree, which is a little bit whimsical, similar, I think, in style to this tree, but more sparse branches to see little more of the trunk. And it has a lot of our Well, Flyways, I guess we'll call them. Let me go back to a ten round for this. And I like how this one has some warmer colors. So I think I'll start with our little warmed up. Green, gold. Such a pretty color and a little bit about green, will drop in some darker colors as we go on. I want to bring out some of the green gold and this, so it's not to waste paper. Let's put this guy right here. I still like to start the way we started this one. Which is, you see him at the end of the brush here for more control. Just a dash. And now we're making really light marks, if that makes sense, It's just touching and I'd like to sort of, this guy likes to go up. And then out. In this, there's some in the center a little more. And then as we go lower and make it a little darker and a little thicker, right? Like this. And we don't want to put a lot of whitespace in the start so we can fill in later. So don't overdo it. Like his branches out like that. Maybe that kind of like the size of him. We could add another layer, but I think that's maybe good for this guy. Let's stop right there. So I'm going to add more of our Sap Green into our green gold. I think for now that's going to look nice. It will darken it a little. Baby, it change undersea grain. And again, we're going to do the same thing we did before underneath our other lighter branches. So it's like that's not enough contrast and might grab a little more of the undersea green, kind of just add whatever darker green, hookers, green maybe, and here, whatever you like. But we're going to keep the movements very light, I guess. And we're just gonna condo flick paint in there. So I'm not entirely sure how I feel about him right now. But let's continue. Before we give up on anything that's seen through. I'm going to add in now the bid, the Mars Black back in with our step Green. And I really like how that looks. We're gonna go for her very dark towards the end, but right now we're gonna go in with this. Now. I'm gonna add a little almost structure to the center, like about where the trunk. Sort of might come in in a little more of our little more of our dark too. So this is getting real dark here. Slick little clicks that went a little crazy but fine. We'll leave it. Reason to mess with it right now. Alright. So I feel like I'm starting to fill in too much Filipino. So I want to maybe back off. A little bit of this, put in a little bit of a darker. Now this is a lot of black, if you can see that, a lot of plaque, but that's what I'm actually going for here. And they're going to have a couple little flyways. Little plant the tip of your brush and whisk it out. If that, if that makes sense, feel free to turn your paper if that helps you when you're going up one side or another, maybe it's really easy for you to work on one side. It's obviously easier for us right-handers to work this way, so it's harder to do it from the other side. And so if you feel like you want to turn your paper, do that. I'm not gonna do accident when I mess up the shot. So you can see what I'm what I'm working on. He's a he's kind of fun. And I think I like, I'm going a little more chunky Venus in the center. But I like his shape. I like how he's very springy. And so there's a little whimsical Tree. He's kinda fun. I like his colors. I like the contrast here. I think as he draws a little will go back in with some very dark we're gonna do is sepia trunk like we did over here. That will let it bleed a little. I think that'll be really pretty. He was my favourite now, uh, kinda like maybe he's he's my favorite. It's not a competition though. All right, let's do another one of these. Just for fun. To see, to practice, practice the motions, the control of the brush. Let's try one more. And then as this one dries, we're gonna go back. I'm loving that sort of the granulation and the bleeding we are getting here. And actually before it gets too dry and almost straight, it's going to be almost straight black to the center of this tree. I know that sounds strange, but when you think about it, really dark, pine tree gets very dark in the center. Yeah, I love that. And dark at the bottom, are you ok, so super fun. If you want to do one that's a little lighter. More, more blues, feel free to do what you like. I'm going to do more my gold, green and PSAP to start. To do that, got really great and fill all of it to tone it down a little bit of this, okay. So let's practice our same, same motions. You start off at the top. And we just do flicks, are holding on to the end of the brush. Maybe we do this one a little more. He's Wilder maybe to see who was going to be smaller. We're just going to run into this guy. That's fine. Just practicing or just working this out, make it a little darker pigment. Cut down the tree. This guy has more really using the tip of the brush here, almost scribble ACE. And so it makes sense. And like mushing it, hmm, I don't know. It's giving super dark. All right. Let's see. What do you think? Let's give it a pause for 1 second. This is kind of an interesting, it's kind of interesting, very abstract looking right now, which is fine I think, but I think I want to give it a little bit of room by putting a little water in there. So let's just see what happens if we kinda blurry, blurry blend it. Just hang in there with me. Make something pretty out of it. So this is looking sort of more of a blend of our two types of tree. Let's go get some black lead. To bring that back. We got a lot to that. Let's let's do this. Again. I'm going to make marks kind of along where our trunk will be. Just to give us some centering. Alright, so flicks, we're gonna work on our little additions. We're gonna put them over in the dry, in the wet fellow to what may be at the bottom. Let's go back to our friend up here is fun and we'll, we'll do a trunk very similar to the one we did here. Let's get a smaller brush that's try it too. Let's start off with some warmer tunes. I think a bird, a bird number, maybe was a little over. It's either way. Right. And then hopefully won't smear anything. But he's still wet down here. And I think that's that's ok. I think we might like some of the effect we get if we if we touch him while he's still work. So before we go into the tree itself, let's go ahead and get some sepia. Slightly darker, right? Mix ten. Ok, let's see. Maybe right here. And here. Again, I don't like to put to much of the trunk in there. I don't know how much of it you would really see so well, shadow it up underneath. Bring it down this way, like this, and let that kind of marinate and will not be too picky, not be too particular about exactly how that turns out to just kinda. And then if we want to, we don't like as much trunk. We can just kind of blend that out a little. Like saying hit their ads were darker green back in where it's still wet, deepen up the center. So this is our whimsical tree. You can see how it differs a little from this one. And of course, our original morton ghost-like, more ghost-like wet on wet tree. And last will jump to the last one, which is just gonna be a quick dry brush technique where you sort of do a blob of a tree and brush it out with a dry step brush, that's d1. 6. Ten Minute Trees - Fuzzy (Dry Brush) Tree: Okay, we're down to our last segment and our last tree. I'm going to use our ghosts tree page. You can look back and see how they dried and how they turned out. I'm just going to take frankly, whatever never colors on your palette right now. You're going to mix up anything new. And we're going to hold at the end. And we're just going to push really fat unless you're like you're making leaves a good bit of water in here. And we'll leave some centers open. So just to push in a lift, just, we're just getting a really like basic shape. Then I'm going to pick up some darker pigment mixed and black and with whatever you were using. And I'm going to drop it down the center. Thinking this might give us a nice effect. Almost like I'm putting up a stem in there. Okay. So here's what we're going to get are stiff and completely dry, flat brush. It doesn't really matter what size. We're trying to take these bristles and stick them in and drag the wet paint out to where it's dry. This should give us sort of a fuzzy effect. And these could just be some cute little trees. So let's see if this works. It's just going to pull it and pull it out. And see that thinking over here and holding on the side, kind of pull it and pull it up using a quick motion. He looks a little wacky. And that is okay. That is our first little layer in the thing. Keys. Kind of fun. So he's just a fuzzy little tree. So I'm gonna go back and take our pressure using before it get it wet again. Hit a blend of what we're using. We're gonna do the same thing. We're going to see what happens when we layer this in, keep pulling it out. Okay. So he might have a little paint on him, so dab him. He can see dab him really hard in your in your paper towel. And let's try it on. So I'm not holding it like this and not brushing like this. I'm holding it on its edge and I'm brushing like this. And you go up and out, up and out. Interesting. Okay, so still not sure how I feel about it. But I wanna give it a little more time. So I wanna give it. When you get a lighter. This time. I'm going to add a little more of our SAP and then I'm going to add a little bit, not a lot, but a little the green gold. Okay. And we're gonna put it down the center again. Put it out a little to the sides, maybe see if that helps us pull it. Again. Remember, dry off, dry off that brush. And then let's, let's pull. Go down in no way, down and away. Okay, so now I'm gonna kinda wisp it out. More like this. Set him aside for a minute. And let's go back. Get some really dark UX, too dark, too dark for really dark greens. Gets and sat back in there. And let's try to add a little more detail. So he's dry brush. It doesn't mean we can't. And a little more to him. We're just going to give him a little more of a center. And we're going to let his wisp ISS Live. And after we do this, but we're gonna try pressing him again. You need to put a decent amount of pressure on it. I'm going to do. Okay, so I think he's very funny and very quirky. I'm not really sure to be honest with you how I feel about it. We'll try it again in a little different manner. I may keep getting way too much black. Sky going in almost like where are the trunk would be C, U dash line here. And then here. Trunk would be pulling it down on here. We get l over Brown's. But but was that successful? Not sure. That's okay. Let's let's try another one. Let's try a little different technique on it. Next time. We'll do one more of these. I don't really mind how it's turning out. I'd like the fuzziness of him. And I wonder what Hill kinda do SE dries. Okay. So let's try it again. Let's do it a little different. Let's get a little more water this time. And let's get a little bit lighter color to start. There we go. Let's try another one here. So I'm gonna try less paint. I'm going to try to keep my marks to a thin, a thin layer here. So that makes us he's a very skinny tall tree and this is very small. So I'm not sure exactly what I'm doing. I ended up painting very small, small to start. Sometimes it seems more manageable. And with, just with that and a very, can try off the brush. Very dry brush, maybe less bold stroke people will just go a little lighter with it. But not too crazy. Okay. Right in the center of where we were. So I'm thinking the key to this might be gentle strokes and way more paid. This. I'm going to try to take these darker turns out underneath the ones we did before. In over a little a little bit there. Okay. And okay. That's a little more a little more what I had in mind. Although he's a teeny guy, he's a good practice trade. That's definitely more what I had in mind. So again, where we have a couple of the very dark spots. It's nice to have some contrast to the first things we did and then these darker areas. To practice this practice along with me and my tab my dry brush, a little bit in the lighter stuff and sweep them out. So that's actually fun to me. I, I like all the texture that's happening here. I like the dark in the center and I'll go back and do more of that like we did on this guy who actually looking a little better, he's just a little, just a little wild. I do think this is going to be a little closer to just what I had in mind. So he's a mini, but I actually think he's fun. And so you get the idea here, which is that these dry bristles are very helpful in making sort of a texture effect and you can get Wilder with them or be more controlled. But either way, you can work on a little fuzzy pine tree. And that is all of our trees for today joined me first and final dots. 7. Painting Trees - Final Thoughts: So as we take a little walk through our forest of trees, I hope you've really enjoyed the class today. I hope you'll share your work so others can see it and I can share it on Instagram and my stories. I hope you really had a great time. Use these for cards or gift tags. There's so many ways to use trees in your designs. And I just want to thank you again for joining me today and I welcome your feedback too. Thank you.