Watercolor Galaxies : Must Know Techniques for Landscape Paintings that Stand Out | Francoise Blayac | Skillshare

Watercolor Galaxies : Must Know Techniques for Landscape Paintings that Stand Out

Francoise Blayac, Artist

Watercolor Galaxies : Must Know Techniques for Landscape Paintings that Stand Out

Francoise Blayac, Artist

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17 Lessons (1h 33m)
    • 1. Introduction

    • 2. Class Projects

    • 3. Class Supplies

    • 4. The Power of Combining Loose & Realistic Techniques

    • 5. The Arch Part 1 : Colors & Sketch

    • 6. The Arch Part 2 : Loose Sky

    • 7. The Arch Part 3 : Loose Arch & Ground

    • 8. The Arch Part 4 : Shadows

    • 9. The Arch Part 5 : Highlights

    • 10. Palm Trees Part 1 : Colors & Sketch

    • 11. Palm Trees Part 2 : Loose Sky

    • 12. Palm Trees Part 3 : Mixing Tree Shades & Fan Brush Work

    • 13. Palm Trees Part 4 : Painting the First Trees

    • 14. Palm Trees Part 5 : Painting the Ground

    • 15. Palm Trees Part 6 : Painting the Last Tree

    • 16. Palm Trees Part 7 : Shadows & Highlights

    • 17. Conclusion

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About This Class

In this class, you will learn and practice one way to approach landscape paintings with watercolors, and techniques that can be leveraged to apply on a vast majority of landscapes types.

This is the third and last part of a watercolor galaxy series and today, you are going to learn how to combine must-know techniques from two watercolor styles in order to paint landscapes that stand out.

This is why together, we will explore loose and realistic watercolor techniques and see how to use them both to achieve beautiful scenes.

While basic knowledge of watercolors helps and is recommended, this class will suit beginners who are getting started or aren't feeling comfortable with painting full scenes, as well as creatives who want to gain some insight on landscape painting with watercolors.

Both projects in this class will allow you to practice loose & realistic watercolor and surprise yourself with the beautiful results you can achieve with an easy framework than can be replicated each time.

Please share your projects to the project gallery and reach out if you need more guidance :)

Are you ready to dive in ? If so, grab your supplies and let's get started !

Meet Your Teacher

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Francoise Blayac




Hello, this is Françoise !


I'm a mom of two boys and two girls, and I'm from beautiful southern France. I went back to doing art with my third child, after a 20 year pause, which is proof it is never too late to get creating again :)

I enjoy using any art medium even though I mostly use watercolors. 

Some of my other favorites are colored pencils, graphites, and pastels :)


I love to create anything from landscapes to portraits, my reads and travels being my biggest inspiration. This is why I enjoy creating magical and dreamy pieces where I can lose myself.

It's amazing what you can do and how far you can travel with Art !

With my classes, I strive... See full profile

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1. Introduction: Hello, I'm housewives are welcome to my class. Today. I'm going to teach you how to combine a loose and realistic techniques to achieve beautiful dimension in your works. In my two previous galaxy classes, I went deep on how to leverage the layering technique to paint smooth and vibrant backgrounds. And I also taught my techniques to create specific shapes. In this class, we're going to explore a much less a way to keep gas news with landscapes that smoke striking and realistic. So it's gonna be very useful if you're a beginner and you have no idea what a start repeating landscape. And if you have taken my two previous guy C classes, you're going to get fresh insight and tolls to alkalis in game. I'll take you through the supplies we're going to need. Then I'll touch on how loose and realistic techniques combined will get you beautiful landscapes. And finally, we'll dive in and paint our projects. We're going to paint two striking galactic landscapes. And by the end of the class, you'll be able to understand how loose and realistic clinical work, how you can combine both styles to get the best of both worlds. So prep your pinks and let's get started. 2. Class Projects: So let me tell you a little bit more about the class project. I picked this topic. I remember feeling so lost at the beginning when I started painting landscapes, I never knew exactly what to start with and what technique to use. The good news is once you understand how to approach a painting like this, it gets easier and I'm going to help you get there today. We're going to use a few columns for each project as well as some gosh, we're going to create easy and beautiful landscapes that look wheel, if you're very new at watercolors, are many and not comfortable with what a control, for instance, you can very well follow this class is I will take you through each step in detail. And if you're ready to dive in, make sure that before you get into the projects, you check out that part where we explore how powerful creating a loose to a realistic style can be watercolors and how you can apply that to your paintings. And please upload your projects to the project and resources section of the class. So me and other students can give you feedback. And now let's go meet in the next lesson for our talk about the supply. 3. Class Supplies: Let's talk about the supplies. So today I'll be using two sheets like these. There are six by eight inches. You can have them muddle a larger, a little smaller. It doesn't really matter. Mine are Winsor and Newton paper is 100% cotton paper, cold press, 300 GSM. And it's actually great to retain a lot of water. So I really like to use this. Now you can use whatever you have for pain brushes and minimum. I would suggest you work with a large round paintbrush like this one and a smaller round paintbrush like that one. So that's the minimum. If you have more choice like I do, you can use another large round paintbrush. That really helps me because I use one for light colors and dark colors. So I don't have to rinse them really well every time I switch colors. That's why. Now for detail, I love to use those silver brush, black velvet paint brushes. They're really great because they have that fine tip. That's really great to get detail. So I use these a lot. You don't have to though. And now I want to take advantage of this class to show you how to use a fan brush. This is actually going to help us create the palm tree branches. And we can very well create palm tree branches with a small brush like this or that. Really, it doesn't matter if you don't have it, but if you do, that's great because I'm going to show you how to use it. And finally, I like to use a flat brush to wet my paper. Again, you don't really need that if you don't have it, it's fine. Just use a paint brush like this one. And this will do just to wet your paper. That's all you need really. For paints, I'm going to be using the Odyssey set by Art Philosophy. I actually made mixes out of the paints that are in there that equal pretty basic colors that you can find in your set. So it's totally fine if you don't have it and listed all the colors that I'm using. So whatever you have, you can meet you. I'm going to be using some white gouache. So this is actually RT data has helium white gouache. And if you do have maybe a white gel pen or a white posca pen is totally fine as well. It's just to get the details. Also need some masking tape. So masking tape, I use it to actually take my sheets firmly on the surface so they don't move around when a paint and I also like it because I get to crisp edges all around with masking tape. That's why I use it. And we'll need two jars of water. We'll also need some paper towels. So please make sure to have a few of these ready because we're going to use them to soak some water off of the sheet. So we're really going to need a few of those. And then a trend patient like me, you might want to use something like a hairdryer or maybe heat gun if you have that. And this kinda help your sheet try a faster. We're not going to do a lot of layering in this class. But still for the background, I like personally to try everything fast so I can keep on painting, but you can wait it out if you want and just let it dry. That's it. You know everything about the supplies now. So let's move on to the next lesson and learn about loose and realistic techniques. 4. The Power of Combining Loose & Realistic Techniques: In this lesson, I'd like to explore the topic of combining loose and realistic techniques with you. So the main benefit of doing that is to make a subject standouts. And I'm going to show you examples of that. So what we're gonna do in this class is actually paint a loose background. And then we're going to paint a subject that's going to be a little bit more realistic so it can stand out. So here, for instance, you have examples of that. Here you have a blue sky, loose mountains, and here in the front you have the sea and there is a lot more detail. So this really stands out. This is really a good example of this technique. Here again, you can apply that to anything really in a forest like this. We have a background that suggests that they are trees far away there. But we also have more detailed trees in the forefront. And there again, we have another example of that, a very detailed boat in the foreground and in the background we have a very loose guy, very loose mountains at the back. You can see it here again. See how loose that sky is and how loose those mountains are, and how detailed this little shed is in the foreground. That's exactly what we want to do. That's what I want to teach you today. Just a few more strokes and you'd get there. We can apply that to a portrait as well. So see her, I just painted a, just a background, just brown background. And then the face is super detailed. I could show you so many paintings, I have a lot of them by now. So here again see you have very loose mountains in the background. And look at that cup. It's very detailed. But it wasn't that long. Just a few strokes, you just need a few highlights. Your shadows rates. That's the last one I'll show you for today. You have a very loose background. Even the sea itself is pretty loose hair. For the rocks in the foreground is what I wanted to draw attention to. Two, those are a little more detailed. You can keep everything loose, keep it mostly loose, or you can go realistic. It's really up to you to decide and this class is going to help you to just that. All right, so with that, we're ready to get started. Let's meet next for our first project. 5. The Arch Part 1 : Colors & Sketch: We're ready to tackle our first project. And it's the delicate arch. It's located in new types of beautiful monument. So we're going to draw this today. And first we're going to start with a sketch. And then I will show you how to mix colors and what colors we need for this project. Make sure to tape your sheet to something it can move around because we're going to need to tilt the paper later on in the process. So it's always useful to know that ahead of time. First we're going to draw the sketch and it's a very easy and simple one. We're just going to draw a ground line and the arch itself, what I'm going to do is actually start here at about 1 third of the page here. And we're going to go downwards and we don't want it to be perfect. We want something that's kinda funky like that. I'm actually in going over the line again because I think mine is not that dark. Now we'll start around the hearer, I'll stop there. Do not worry if your arch is not perfect because we will use dark paint to shape it a little better in the process. And if you want it to look natural, if he doesn't need to be just clean shapes, It's okay if it's irregular, if it looks a little bit crooked. I'm seeing at the bottom right while enough there. So I'm just adjusting right away with a pencil. And like I said, we can do that again later with paint. Now this sketch is finished. Let's talk about colors for this project is only going to be at five colors. So I'm going to be using indigo and purple for the sky. And if you don't have profile, you can mix blue and red to get one. Don't have indigo with just a regular blue. Just mix a little bit of black with your blue and you'll get a darker shade length of S1. For the arch itself will use pink as an undertone because we wanted the inner sites heritage be lighter. And we're going to be using burnt on births, a dark brown. We're going to be using it on the edges here and for the ground. And we'll also add a little bit of black to make everything a little darker and make this arch stand out more. We are ready to mix our colors on, like I said in the supplies lesson, you don't have to have the Odyssey set to make this project work if you have just regular college, just fine. You can download that sheet that I made. There's a section that will tell you all the colors that you can use. And if you have the set, the colors that you can mix to get my exact shapes here. I'm going to make the sky colors to show you the consistency we're looking for a please make sure that before we get to the arch and the ground that you get the other colors mixed as well. I'm going to use a ceramic palettes to mix those colors. You can use the wells in your watercolor set as well. Let's make enough of that blue shade. We're going to need it to make some parts really dark in the painting. I'm making it a bit darker because the blue that I'm using and that set is pretty light. That's why I was saying you can very well use indigo if you already have that perfect color and you won't even need to mix it. You can see here that I have something that's rather creamy but still pretty runny. There's still a lot of water in it, so it flows well on the paper. So there's also enough pigment in it that it will show because watercolors always dry, lighter than what they appear to be when they're wet. Now it makes it a little bit of purple. I don't need as much, I just need a little bit to make that sky interesting and not just blue. And purple goes very well with indigo. Feel free to use any shade of purple. You had to make my own way already. And you see we have a good amount of paint carrot to pin the sky. So Mimi, next far, beautiful blue sky. 6. The Arch Part 2 : Loose Sky: We're ready to paint our beautiful sky. And to manage it, you really need to make sure that your paper is state to a surface. You can move around. Then you have paper towels because we're going to be soaking some excess water off of the sheet as we tilt the paper, make sure your mixes are ready. That's very important. And you want to make sure also as you paint that sky, that you keep contrasts in mind, keeps some white areas in the sky. We also want some very dark blue areas and everything in between. I'm going to guide you through the process, so don't worry about the details for now. If it helps to watch the lesson for us just to see what I'm doing and then do it again with me. Please do that. Otherwise, let's just start. I'm ready to wet the paper and I'm going to actually went everything. Because like I said before, the rest of the painting is going to be really dark. So it doesn't really matter if there's some blue or purple shade bleeding onto the ground. I go back and forth on the sheet just to make sure I get every nook and cranny of it. For a six by eight sheet like this one and a loose painting. We don't need to wet the paper for that long as UDL do it longer than that. But here are 30 seconds for me is enough. See what works best for you. Because all we need are for pain, suffering, and we're actually going to help the flow by tilting the paper. And that's why prepping the paints ahead of time is a good idea. So I'm dropping integral first and I tilt my paper downwards and the Inigo is actually going to flow downwards. And then I rinse my brush and I'm going to pick up some purple and do the same thing. But I'm going to do it on the other side. And I'm going to tell the paper the other way. And now see how the paints bleed into each other, how they meet. There are some white press there and that's great. We want it that way. We don't want to cover them up. That's why we don't need to overdo it. If you want to, you can add a little bit of black paint to a blue mix, so it's even darker, even if it's indigo, we want to even darker. Again, add a little more and tilt the paper and gotten. And now my sky looks pretty nice if you want to touch it up a little bit with a clean and damp brush, can do that. Just make the strokes and a lot cleaner and more like you want them to be. If you're a sky looks great, just take it the way it is. Otherwise, you can always add some lines. If you'd like. You can even dab some of the water off of this area, although when it dries, it's not going to show that much. So see how the watercolor, Yes, it's hard because we're working on the wet paper, but we can always fix things. Can even add a little bit of purple. Always remember to keep some of those white parts on touched. It will look nicer in the end, it will look like a glow coming from behind the arch and that's going to be dramatic. You can wait for it to dry or you can go ahead and take a hairdryer and speed up the process. We're going to add to stars now. And the reason why I wanted to do this is because if we add the stars at the end of the painting, we might get some on the arch and I find it easier to do it now, doesn't matter. It does a little bit of gouache here and there because we'll paint with layers. So let's just do it now. Here is my white, our T-cell squash. And it's something creamy like this, but still tiny bit runny because we want to be able to do some splatters and see the advantage of doing it. Now as we don't need to worry about spoiling the arch. Try to place more stars where darkest on the sky, they will show more. And when you have a few, you can come back with your paintbrush and just place a few more by hand. Bigger ones. Try to be as random as possible. I know it's difficult and not that random. Trying has put a few here. Alaska. So let's bring in the next lesson to paint a loose arch and round. 7. The Arch Part 3 : Loose Arch & Ground: In this lesson, we're going to paint the arch and the ground. And I'm going to use those three colors, pink, burnt umber, and black. And I actually made my mixes already. So you can see, I made my pink mix edges edit a little bit of brown to it just to mute it down, but that's my personal preference. Then I just fix my brown and black hair. And actually my brown black. I want them to be pretty thick. Because what we're going to do is just apply a thin wash of pink first on the arch. And while still wet or drop the other two colors, one after each other to make it darker and darker. And because it's wet, the colors are going to melt into each other very nicely. So we have a very nice gradients. And I'm actually going to use this paintbrush, which has that fine tip. It's going to be very useful to make sure and make mice edges hair around the arch. Here we go. So we don't need to be super precise at this point. Really. Keep in mind you can correct the shape of your arch if something goes wrong, so don't worry about it. However, it's still wet so I'm adding a little bit of brown. See how easily it spreads. I'm trying to keep this inner edge hair pretty light. And while I'm at it, I'm just going to do the ground. I need to pick a brush for that Toby faster. I'm going to drop it a little bit of black hair in the front. I'm making a dark and make some eye brown shade now that I'm a bit of black and I'm going to drop this here while it's still wet. I'm going to do that repeatedly, little by little. I'm going to increase the amount of black and I'm going to make my painting a darker and darker. Look at how pretty it is already. You can smooth out some parts here of shrew-like with a clean and damp brush. Now you can go with black and repeat. It can adjust assigned territory like make the shape a little less clean and perfect. Try not to cover everything up with the darker paints. Teammate pink shade is not very obvious, but it gets something extra to the painting. Some cool highlights are not just a plain brown. That's why I like to associate those colors. And with a light background that we made. This arch now being so dark, everything stands out and it looks very dramatic. And that's why it's shadows and highlights are very important in a painting. Again, you can smooth out some parts here and see you can list some paints to start shaping natural highlights. And then we'll, we'll add gouache to make those highlights more visible. In here you have a loose arch and ground in a few easy steps. Now if you want, of course you can leave it that way. If that's the look that you like. What I like to do is add more depth with a little more dark paint and then add some highlights. And that really makes the whole thing looks so much more realistic. So that's what we're gonna do in the next lessons. Meet me next. 8. The Arch Part 4 : Shadows: In this lesson, we're going to work with brown and black to make shadows and increase the depth and this painting. So what we're gonna do is apply them on the edges right here and on the ground. And when I apply brown right there, I'm going to make sure and fade the edges of it with a clean and damp brush. So there's no harsh line between the layer I've painted before and this new layer. I'm going to keep working with this paintbrush. I find it easier to get into the little nooks and crannies there. That's why I love this brush is still much so if you get a chance to get one that's similar to this, I would highly recommend it if you like that kind of detailed work. Of course. Let's make it thick and mixes of our paints. And we're gonna go with a dark brown or right away, which means I'm going to add a little bit of black in that Brown I was using before. And I'm gonna make it pretty thick because who already have a good amount of paint on that first layer in the arch. So we need pretty thick paint for it to show, right? We need more pigment. Make sure to get a brush ready that's going to be clean, damp, just to fade those edges. And again here you can very well change edges of your arch if they're not satisfying to you. You faded like that into the first layer. And keep going up. Make sure to leave some areas untouched so they stay light. Because remember we want dark tones, very light tones in the next step while we add the highlights. But we also want to keep some midtones. I really need to make that ground pretty dark because usually what's in the foreground of the painting is a lot darker than the rest. And for now we're missing that. If it's still wet at that a little bit of black now otherwise weights quite to try and come back. Now let's paint the ground. Can see it's pretty thick hair, almost like a silhouette. Except I have more colors. And just what my paintbrush in here, I'm fading this fresh paint into the first layer. And while it's wet, I'm going to add a little bit of flack. At the bottom. I'm mixing my paints, have I go? But really if you don't feel comfortable with that, make sure to have a large mixes ready. That's what I did at the beginning for quite a long time. I'm going to try this and then I'm going to work on some small details with the dark colors. I'm going to use my smaller brush and I'm going to add a little bit of detail here and there to play some cracks, things like that. I'm using black, mostly black with just a little bit of brown. And for instance here can place a small crack and lines to. So here look, I'm pretending there's a gap there. You can kind of shape this rock the way you want to. You can add another bit of lines here and there. Maybe not too many. But just to add a bit of texture to make it more interesting. Here we're going to emphasize this area. There can even mimic areas being a little hollow in places by just adding a little bit of black can even work on those edges are not satisfying yet. So try to keep the shape in mind. Hair it's not flat. Try to think that it's rounded shape. So see when I make lines, I don't make them straight. I try to make them curvy. Mistake here, but I'm going to fix it. And we see nothing. I think we're good. I'm not going to add too much. I don't want to overdo it. Thus the risk, make sure to let that dry. And in the next lesson, we're going to explore the highlights and we'll be done with this painting. 9. The Arch Part 5 : Highlights: Welcome back to the last lesson of this beautiful arch. So now we're going to use gouache to make highlights. I'm going to use my precise paint brushes. So you can also use, you're not just a plain paintbrush. And of course I'm going to use white gouache. White gouache, we want something that's not quite pure. You want to add a little bit of water, but not too much, because if we add too much, when it dries, it will be very light. So you want to keep it quite strong. I'm using one paint brush to apply the coal ash and one to fade it. And that's very important at this point. It will make it look so much more natural if you can fade the crash into the rest of the layers. Now if you're using a gel pen or a Posca pen, you won't be able to do that last fine. Just make sure to stay late on your stroke and don't put too much otherwise, it may make the painting look odd. So just to add a little bit. So I'm starting to add some here on the edges, like dots. And I'm trying to do is place the white gouache by places are pretty dark. If you remember, we added a crack share. So I'm trying to make a highlight next to it to emphasize that crack. See we don't need highlights all around. They will look a little bit odd if we did that, we already have that light pink paint we applied before. That's taking care of showing us the side Harris lighter. So we just need a few highlights here and there. The good thing about gouache is that if you make a mistake, it's easy to remove. Keeping in mind the rock is not flat, it's rounded. Make sure to adapt your strokes to the shape. Carrot suggesting that they are two different stems. That's why I'm making a highlight there and I'm going to do the same here. The liquid in it. The finding, interesting to add something here since it's so dark the ground, so dark. Welcome. Come on that area pretty well. Make it stand out to that, Amar. Okay. If what you prefer to do is just place a few strokes without feeding them into the first, second layer of dark Payne's. Otherwise, you can emphasize some of the areas of the arch like I'm doing here. Ends up GO. We're done with this beautiful paintings. So what I'm gonna do now is reveal. And there we have it, our arch, Delicate Arch in Utah. Look at how beautiful it is, how magical looks, and everything we did. We add to that the beautiful sky with a lot of dark areas and light areas. The very dark subject was strong shadows and strong highlights. Congratulations for completing this project. Feel free to upload it to the project gallery in this class and meet me in the next lesson for the next project. 10. Palm Trees Part 1 : Colors & Sketch: We're ready to tackle our second painting and the skin of the palm trees with a vintage galaxy in the background. So first we're going to draw a very simple sketch and then we're going to mix the colors for this guy. I really want to palm trees to stand out in this painting. So we're going to start drawing the brown line pretty low and it's almost flat, but just, you know, not straight. Once again because we don't want it to look perfect. And then we're just going to outline our palm trees. So I chose to make three of them because 30 is looks a little more natural than just 22 looks a little bit too perfect again. Then I'm going to make another one right there and it's going to be in the foreground. Then I'm going to make a smaller one right here. For this guy, I'm going to mix pink, yellow, and blue. If you have those colors already, go ahead and use that. Otherwise, if you want more guidance, you can download my color guide in the resources section of the class. And in there you'll find the mixes for my exact sets that I have from Art Philosophy. And you'll also find subtractions or what to mix if you don't have this sets. I'm gonna go ahead and mix pink. So in my pink, I decided to add a little bit of orange because I want to give this galaxy a vintage feel. So again, make sure that your mixes creamy enough so we can see the color coming through in that loose background. Since we're only painting one layer, we really want the colors to pop, but at the same time we don't want it too thick so the colors can mix into each other and actually make nice gradients together. Let's mix yellow now. And in this one I'm going to add a little bit of pink this time to make advantage like also. Here's just the right consistency. Finally, I want to mix blue and I'm going to mix a little bit of yellow in that one. But I could keep it as it is, doesn't matter at all. I guess it's just a plain blue or if it's a blue that you mix with something else. Although you can clearly see these colors are looking more vintage with the kind of colors I had mixed into them. We want to mix quite a bit of blue because most of the background's going to be blue. We're adding a little bit of water so this can flow and mix with other colors really well. We're ready. So let's meet in the next lesson to paint the sky. 11. Palm Trees Part 2 : Loose Sky: For everyday to paint this guy. So what we're gonna do is wet the paper 3D. Well first, then we'll, we'll start with a light colors first, yellow, then pink, and we'll add that little bit of blue, will be careful to leave some white areas. Don't worry, I will get you through that again as we go. So let's start and that's what our paper, we're not going to be tilting the paper is just going to be irregular galaxy this time. Again, in this painting, I'm wetting the whole sheet and that's usually what you would do when you paint a landscape because skies usually are a lot lighter than the rest of the painting. So might as well just quite everything and avoid a harsh line anywhere in the painting. We're ready. So now I'm going to start with yellow and I'm going to go in a diagonal. So I'm just going to tap the brush randomly and I leave some white areas. Because whites we take an a pop. You can even add water on your brush if you want some lighter areas of yellow. So you just stretch that paint that we just added? I'm adding pink and I'm overlapping it and places on yellow. It looks a lot more natural this way. Now let's add blue so we have a full picture. Don't forget to leave some blank areas. So this is our base. Now we can keep adding a little bit of color, yellow first. So again, I'm just going to tap that brush here and there. And you can see here it's R10. So I'm going to add a little bit more yellow so it stays. Because when this dries, we know that with watercolor it's going to try a lot lighter. I added my yellow pigment in my mix because while the paint's still wet, I want to take advantage and make it darker. And I'm doing the same with pink. We don't need to add a whole bunch. Just said all of that. It can touch it up in places where the clean and damp brush, if you don't like it, stretch the paints elsewhere to add more paint. And now I'm adding more blue. Rinse my brush. And I'm just hoping the paints to mix together. And we can check that galaxy a little bit hair with blood. Let's pressure a little bit of pink hair and tear blue areas to make it a little more interesting like this. It gives the painting a little more variety. And we're good here at, don't want to overdo it. So I'm just going to try this now. You can let it dry if you want. I'm going to use my heat gun. So once again, I'm using my titanium white goulash. Actually going to reactivate this mix here because you can very well use gouache that has dried. Here I got something creamy should be enough. So remember that if it comes out of your brush pretty easily, then that's fine. Otherwise you need to add water. And if it comes out too big, then you need to add more paint. It's easier to spray the stars now before we actually draw the trees is going to be pretty hard. If we wait until after we've drawn the trees. I'm going to add a few stars directly with the brush. This way they stand out even more. We're done with this guy. You can see it pretty light. That's actually a good thing in a landscape because we really, really want those main subjects stand out. And in this painting is going to be the trees. So we don't want the sky to take over and be too dark. We like it this way. The trees are really going to pop off the page. Meet me next to mix colors for the trees and learn to use a fan brush. 12. Palm Trees Part 3 : Mixing Tree Shades & Fan Brush Work: In this lesson, we're going to mix the paints for the trees and we're going to learn to use a fan brush. So remember how I told you in a previous lesson that we really want our trees to stand out. And to do that, we really need to make sure they're dark enough. That's why I'm using a brown, which could be a burnt sienna if you have that, or a burnt umber would be great too. Then I'm going to be adding a little bit of black in that brown shade to make it even darker. And I'm also keeping my black shade nearby in case I want some parts of the painting to be even darker. So what you can do is just go with any brand that you have and then have black or gray nearby so you can darken this brown shade. Here. I'm mixing my brown and you can see what it looks like, a burnt sienna. So you can use that are burnt umber and I'm making it pretty clean me. All of the palm tree is going to be painted with brown. So I'm going to be adding a little bit of black here in the corner. And you can see it turns instantly into something a lot darker skin to allow us to build up contrasts. And if I want even more contrast, I can add a little bit of black right here. And everything will be ready for us to work with. We don't want to use a lot of that to the wise. The paintings not going to look too nice if it's too, too dark. We want to have those shades showing just a little bit of that to really make it pop. And then we'll add some highlights and it will be awesome. Okay, so now my browns are mixed. Before actually paint the trees, I want to show you how I use the fan brush. So I'm taking a scrap piece of paper. I'm just going to wet my brush and I think it's kinda funny what it looks like when you wet it. It totally is different. Now, when you want to paint a paltry branch with this, you would think that you just need to go this way. But it's not working. It looks kind of weird. So what you need to do, let me just add more paint. What you want to do instead is actually start with a tip. You press like that. And up there you release. And you see the shape of the leaves are here that you really need to press and release and the M like this. And that's why I was saying it can very well just use a plain paintbrush like this one, for instance. If don't have a fan brush and you can actually do it with your brush in the same way. I just liked this one because I think it's pretty cool for drawing palm trees and you can get several leaves done at once. And it looks a little more natural than if you try to add them one by one. See how cool it looks there. So just remember to always use the tip and not the whole brush. Made me next to pin the first trees. 13. Palm Trees Part 4 : Painting the First Trees: Welcome back. We're ready to paint the first two trees that are located in the background of the painting. So now suggests that you take your smaller brush so we can draw some slender tree trunks. There'll be a lot nicer than very thick ones. And then if you want, but that's not something you have to do, but if you want to make it a little more neat, you can also have a brush nearby that's going to be just clean and damp to fade the bottom of your tree right away so that it can kinda melt into the ground a lot better later on and not leave a mark. I like it better because it's thinner, so I'm going to use that. We're starting with our light shade of brown. And what I'm gonna do is just press down like this to make it thicker here and then release as I go up here, I'm going to correct. I'm going to pick up my other brush and just fade the bottom slightly. Here. If it's already starting to dry, just go over it again. And that's when you want to add your darker brown here on the edge. You can even add more black in it if it doesn't show enough. And see how it starts melting into the rests, it looks more natural. You can add a little bit more at the bottom. And I use that plain shades of black and outline, just the edge there. And the bottom a little bit. I'm just going to take this fan brush right away. And I'm going to repeat this. I'm going to start with my lighter shade of brown and add a little bit of color and a little bit of darker shades in there. Hey, remember to press down. And then let's add some leaves randomly. And we can add a little more and show free to draw the leaves as you wish. You don't have to make sat me like mine. So here I feel I might need something there sort of a bit empty. When you look at your painting, where you need to add something. I think it looks really nice this way. So now before it dries, I'm just going to pick up my regular brush and add a little bit of that darker brown in there. Just a little bit to outline those leaves that are more. And I can even add some branches. Why not darker ones? I might add a little bit of lab of 3D, a tiny bit there. I'm going to stop here. I'm not going to overdo it. I am very happy with how this tree is looking at. Really looks nice. I love the shape of it. So now I'm going to replicate that with other trees. I'm not going to draw the leaves exactly as I did here. I'm just going to try and get that shape to complement the whole painting. Since this tree back here is going to be in the background, that little mark compared to those two. We might want it to be a little lighter, so we might add a little less of those darker shades of brown just so it's lighter and it looks like it's at the back. Again, press down and release as you go up. All right. Hello. Hello. Yeah. It does look a bit lighter, which is perfect, and we're going to leave it as such. Notice how this small tree already looks like it's farther back. This effect is very easy to achieve with watercolors. The lighter the subject, the more remote it seems to be, the darker the subject, the closer it appears to be. In the next lesson, we're going to paint the ground. So see you there. 14. Palm Trees Part 5 : Painting the Ground: In this lesson, we're going to paint the ground. Same principle here, then the trees. We'll start with a light layer, then we'll add a much darker layer that will reinforce this illusion of the trees being more or less close to us. Right now let's paint a single light layer and include those two trees in it from the base of the trunks. All we need to do is add paint at the base as well and faded into the rest of the trunk with our clean and damp brush, Let's do it. While using the same mix of brown to begin with, There's no need to add by cats. Remember to apply the paint quickly as attempts to try and faster when the paper is not wet. Let's add a little bit of a darker mix of random places to make it more natural looking. And again, there's no need for that yet. And while it's still wet, let's add paint at the base of each trunk. Then we'll use our clean and damp brush to emit the edges. I'm going to lift paint stair with my clean and damp brush so that in this layer we end up with light tones, the ones who are lifting midtones and the slightly darker tones. Make sure this is fully dry. Before adding our second layer of ground. We're going to use the exact same technique only are brown so will be slightly darker with more back in them. This way, this tree on the left will look a bit closer to us than the one at the right. Hello. It's looking good, so let's wait till it's dry. And in the next lesson we'll paint the last tree. 15. Palm Trees Part 6 : Painting the Last Tree: Let's paint our third and last tree and I'm mixing a little bit more paint, I'm running out of it. So here I'm going to start here. I just wanted to be known as bit darker. I start here around on the trunk. The fan brush takes a little while to get used to. But once she know how to use it, it's pretty fun. Hi, I like to shapes and I'm just going to add a little bit of black. Remember not to add way too much, but otherwise it will look a little bit somber and we don't want that. So now I'm just going to go ahead with the ground. And since it's not quite dry here, I'm just kinda do that right away. If you're not sure though, just let us try and proceed the same way we did before with the ground. Make sure to fade that trunk into the ground. I'm adding a lot more black in my brown shade to make sure that piece of ground really looks like it's a lot closer. We're just going to leave it like this. Just kinda keep it simple. Let's meet next to the shadows and the highlights and finish this beautiful piece. 16. Palm Trees Part 7 : Shadows & Highlights: Let's go ahead with details. So there are two different things that we can do to add details. We can add darker paint to make some of those areas look a little more realistic. And we can also add some white gouache to emphasise highlights and make it look more striking. So we're gonna do both of those things. I'm going to take some of my darker paint that I just mixed to pin that last palm tree. I'm going to splatter it right here pretty close to the paper up San Juan to get some on the sky. I want to make some kind of a texture on the sand back there. And what we can do also is used a dry brush technique gives paint That's a very saturated where there's not a lot of water, so that the brush is mostly covered in paint and mostly dry. Then I'm going to remove the excess paint to make sure that it's not overloaded with paints pretty dry. And I'm just going to dry brush up front. They're making some kind of a cool texture. I'm using that dry brush technique to add some texture to the tree trunks. I'm just making random strokes. It helps emphasize the shape. I'm done with a darker paint. I'm just going to go straight to go wash now. And we wanted to be as thick as possible, so just add a tiny bit of water. There's already some of my brush so that I will do. One of you highlight in the branches, but I don't want too many. I don't want it to look weird. Just L AND gate the tip of the branches at our beds with white gouache. Now what I love to do with clashes to make it look like tree trunks are growing. So I'm just going to add a little bit share and I'm going to fade it with a clean and damp brush. And you don't have to take it all off with the pressure can leave some areas untouched. So we have a little bit of texture there too. I think it's centered. Look great on this one because this one is so dark is really going to make it stand out more. I'm imagining the light is hitting this area here, so I'm just going to highlight the side of the tree. And thus why I also left at color right there. I'm not going to add 22 much crashed. Eric said I wanted to make it look like it's been snowing in the desert. But I want a little bit of a highlight, something exciting. I think we should be adding a little bit of kwashiorkor to unify the painting. Make sure you post your project to the project and resources section of the class. And if you have any questions, please reach out lung at how magical this is looking. Look at what the gouache is doing here. Look at that textures beautiful. So before you go meet me in the conclusion for a few final words. 17. Conclusion: Congratulations for completing the class. I hope you enjoyed painting those two landscapes as much as I did. So please share them with us in the project and resources section of the costs and also leave me a review to tell me what you thought of the class. You can also follow me here on Skillshare to be updated on all of my future uploads. You can also find me on YouTube and Instagram. I share a lot of behind the scenes. There are a lot of inspiration. And you can use the hashtag create was housewives to share your paintings there as well. Thank you so much for taking this class with me today. See you in the next one.