Watercolor Landscape: Above the clouds of Washington by Emilie Taylor | Emilie Taylor | Skillshare

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Watercolor Landscape: Above the clouds of Washington by Emilie Taylor

teacher avatar Emilie Taylor, Watercolor Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

13 Lessons (2h 6m)
    • 1. Washington Intro

    • 2. Washington: 1 Sky

    • 3. Washington: 2 Mountains

    • 4. Washington: 3 Ground highlights and layout

    • 5. Washington: 4 Ground Midtones

    • 6. Washington: 5 Trees 1

    • 7. Washington: 6 Tree 2

    • 8. Washington: 7 Tree 3

    • 9. Washington: 8 Trees 4

    • 10. Washington: 9 Big Tree

    • 11. Washington: 10 more Ground work

    • 12. Washington: 11 Baby Pines

    • 13. Washington: 12 Final Details

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About This Class

Want to learn how to give your watercolor landscapes a realistic touch? Then this is a class for you!

I spent years working on my botanical and object paintings always avoiding landscapes. Once I decided to grow and learn how to make my style work for landscapes, my painting world was forever changed. Join me in this class and I'll teach you my tips and techniques to take your landscapes to the next level.

Cartoon Realism is the word I use to describe my style, I love having enough detail that the scene can feel real and almost transport you there, but retain the artsy bit that reminds you its a painting.

In this Class you'll learn:

- The art of layers in Landscapes like painting in highlights and slowly building the painting

- When to use different techniques like wet on wet and dry on dry

- The Paitence it take to layer the pines

And more!

I would suggest this class for anyone who has already done a little bit of painting and is looking to learn a new skill

You can find me on Instagram here https://www.instagram.com/emilietaylorart

Meet Your Teacher

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Emilie Taylor

Watercolor Artist


My name is Emilie Taylor, I'm a Watercolor Artist. I started painting in 2016. I developed my style that I call cartoon realism while painting botanicals, fruit, and other things. I avoiding landscapes not knowing my style could work for them too. I took some courses and found not only does my style work for landscapes but landscapes are my favorite thing to paint! 

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1. Washington Intro: welcome to my skill share claps. My name is Emily Taylor, and I'm a watercolor artist. I call my style cartoon realism. Landscapes have quickly become my favorite thing to paint. I'm passionate about teaching because when I started learning watercolor, I wanted to learn this realistic style. But I wanted to paint landscapes and I couldn't find a lot. Of course, is like that, Michael is to show you how easy it actually can be to give your landscapes a realistic touch. Today we'll be working on a painting from my trip to Washington. The source picture is mine. It's from a trailhead called Blue Mountain. I chose this picture because all the natural depth, so it makes for a great picture to teach on a couple different things, especially these trees joined my class today, and I'd love to see how your painting turns out. 2. Washington: 1 Sky: before we get started, I would like to go over a few of the supplies I'm using. Today I'm painting on Ah, Windsor and Newton Watercolor Block seven by 10. I love painting on these watercolor blocks because I don't have to tape down the paper. Plus, it's a nice size for a quick and easier painting. I have quite an array of brushes, and I'll go over what I'm using. Well, I'm painting with it for my pains. I use a mix of Matthew Palmer watercolors and also some cure tech Assam. Be not sure how you pronounce that exactly, but the pan paints. You'll also be able to see my colors here on the side while I'm mixing. So let's start painting. I am going to grab my 16. Um, it's a big brush and a 12 round. I'm gonna use the 12 to get a little bit of my blue paint going. This is just a natural blue by Matthew Palmer. Whatever you feel is your best sky blue. That's what this color is going to go for so that I'm going to grab my Big 16. It's got a nice flat spot on it, and I'm just going to start wetting the whole sky. I am being careful around these mountains. You don't to be too careful cause we are painting the mountains a bluish color. So if they run a little, it's not going to be horrible. But I'd like it to be sort of precise. So just taking care, getting that whole top nice and one that I'm going to grab a nice kind of watery consistency of my blue and start painting in the sky. So, as I said earlier, I was painting the water and horizontal lines. I do this a lot in the sky because any bit of gap that's gonna come through is going to look like natural haze or clouds. It's going to give the sky the very natural look of leading lines going back into a horizon , so that horizontal thing is a good thing to end with. Be careful around these mountains. As you can see, I'm using the tip part down to help control the pressure of the paint and those nice horizontal lines. It's a bit too watery, so here I'm gonna plop down a nice bit. It's very dark now, and I'm just going to be mixing it in. You'll see me wipe off paint a lot on that paper towel over in the right, and this is just helping control what I'm doing with the amount of paint. A lot of times, when you're painting loose, you want to go crazy and you don't want control it. But here, with this more realistic style, we need a lot more control. It's once again just wiping off some of that paint and going right back in with the damp brush, and that's helping pull up some of the paint. I want the sky to be darker on the very top and lighter as it gets towards the mountains, and this going to help get the give the illusion of depth and that the sky is actually vast and going on. So I'm happy with that, and I am going to grab a paper towel here and start to blot out some clouds. You need to make sure that your sky is still wet at this point, so I can tell that it's still beat it up in this wet and I'm able to go in and just start blogging. Some quelled out. If you're sky is not what any longer wait for it to fully dry and then re wet it. Then you're gonna blot out. But you're gonna have to use a little more pressure the second time because the paint has dried ones. But anyway, if you're working along with me in your sky has not dried, you're going to want a press down pretty lightly. We're not wanting to pull up too much pains. We're making these little wispy clouds because, as you can see, there are clouds already in the photo. In this picture where I was were up above the main set of clouds at about 4000 or 6000 feet on a mountain, there were still more wispy clouds up in the sky. So in creating these wisps, sometimes I'm just very lightly blotting down, and it starts to catch a little bit of blue on the paper towel, and I continue to use that for a bit before I pick it up and start with a clean end. Because I'm not trying to blot away huge white clouds. These air just going to be nice little wisps as I start to blot lower towards the mountains this. I'm working in just the lightest part with my hand so that I'm not pulling up too much paint. So you're clouds can turn out exactly however you want them to look, I wasn't quite following my photo. Just kind of letting the clouds do what they want to dio. I do that a lot when it comes to my clouds. But I am getting to a place where I'm happy with mine and I am gonna start on the mountains next. So I will see you in the next video. 3. Washington: 2 Mountains: welcome back. So for the mountains, I am going to grab my eight round brush and I'm going to start to mix up this, um, bluish gray color. It's a Matthew Palmer natural gray, but it's very similar to Windsor and Nunes Payne's gray. I'm also going to put a little bit of my natural blue in, as I don't want this to get too dark. And I'm just watering down a little. I had originally planned to just go right in with the color on the mountains, but then I decided I didn't want to. What? The service first Because of the cloudy service and knowing that I want to blot away some of the color to create clouds, I want this whole area. What? So I grabbed my 16 0 exit 12 round and I just start wedding away. All the mountains and this whole area that is going to be clouds and the color is actually faintly light blue on here. Still, after I washed it out, I didn't do the greatest job. But I actually am okay with that because I do want these clouds toe have a slight bit of color. So getting that whole area once again being careful in those mountain tops. Once it's all what I am going to grab that natural gray color, it's really more of a blue and get started on the mountains. So getting started, Um, I like to keep the tip of my brush upwards Teoh for where we're going to get the harshest line. When I got started, I didn't have my full plan in place, and that might have been a fault. But I can teach you how we overcome it. So I know that when I'm working with these colors, a lot of times, something can start to dry. And I knew I needed to do some blotting on the lower part of the mountain. So I got about halfway through, and I wanted to grab that paper towel and start getting some of that cloud foggy Look on the lower part of the mountain, so I started to blot at that just very lightly with a paper towel, a small corner of it, and you're seeing getting these kind of cloud fog marks, so knowing most of my water probably dried off, I'm coming in with that round again. Just wedding the area because I want that same effect. And I realized at this point that there were a couple of mountains that are even more distant that are gonna have that lighter color toe more hazy and further away. So these should have been the first mountains I added in. But I did not get to that point first, and we're making it work. So here you can see I am using a lighter color, and that is purposeful. Now, just doing those same kind of mountain lines and over by this big tree on the left. I knew that the tree was going to cover most of it, so I wasn't too worried about finishing that whole side or making it too dark, either. Once again, I grabbed my towel to do some of the blotting for the cloud line there, then grabbing some more mixture. And I'm using my pencil sketch and my reference photo to put down this mountain line. It's mountain range that's actually a bit closer. So I've got that gap showing these guys air further on the clouds and you can see this back Mountain was a little wet. Now I'm not getting his Chris. People lying here. But I will just go back over this mountain so that I get a crisper top to it later, - since the bottom area had dried away. I'm taking just water on my brush and I'm just bring it down to the very bottom of this mountain range and just pulling down and all the way a bit to the side, which is gonna give that effect with the mountainous disappearing down into the clouds. And you can see I'm just pulling the water down as far as I need, because I really hate hardship lines. And when I can see any of those, I'm just pulling it down as much as I can because I don't want this to stand out. So once again, taking that paper towel and just blotting in just a bit to show those bits of clouds and then I'm coming back to this back mountain range because I wanted to show that it's also in front of that lighter mountain range. And once you get started on it, I noticed the harsh line, So I've got to cover the whole thing color and make sure just that these tips and peaks aren't having any new hard lines in that it's looking how I want it to look. So, for instance, here I'm carrying this mountain out a little farther, even though maybe it's not what it did in the picture. It's just what's going to make this painting look better now that I've got the strokes down . So coming back through the top of this range and just making sure the peaks aren't to step and that the darkest ring of paint is right up on the top and then pulling the paint down through the mountain to keep those hard lines out of the way that I'm gonna wash off my brush and just do the same that I did to the other range. And just use what water to pull down that paint color and once again just wedding this whole area because I don't want those water lines a bit of color to show up is different, grabbing the paper towel and just plotting in those clouds again, as this is the second time that I've put paint over the top. It is a lot more rigid, but I am using the the bit of paint that I got on my paper towel and kind of reinforcing it down in the white area. That's supposed to be clouds to help, just kind of add some color and bit of foggy dots of the blue. You can see that kind of creating more dimension to the clouds down there. So back to that last range, I'm just going to darken it and do the same thing. Clean out my brush, pulled down the water and block in the clouds. So that is our little mountain range out there. I'm happy with it. I hope you are happy with yours. We will work on some of the foreground and getting the green color down next. 4. Washington: 3 Ground highlights and layout: So let's jump right in. I want to mix up some of our greens. I'm going to be using mostly just these two greens I have on my palette already. They're both Matthew Palmer. One is the light green and one is the natural green. I'm just going to mix them together, but mostly using the light green and get a nice, watery consistency that I'm going. Teoh, use my 12 round and just what the whole hill that we've traced in. And this we're going Teoh, get the green down. - So I grabbed my eight round. You could probably use a bigger around if you wanted, but I just prefer to work with smaller brushes when I I'm worried about edges. So we're just applying this light green color completely all around. I am working in a direction of form that you can tell that this is a hill here. Any time that I put the paint down vertically, I'm fixing it so that we're going kind of the right direction. This very bottom part is tricky because here in the picture, you can see that there's this bit of brown dried out area and these little teeny far off trees and we're gonna try to make this look right. So I'm mixing up just a bit of natural yellow, natural, orange and natural brown. You have a color that it may be just the right color without mixing. That is just fine. But I am applying it to that small spot, and then I'm just mixing it up into the green so it fades correctly, and then I'm taking my green toward the hill front is. And I'm just pulling that down in front of this orangey brown color that we've created that I'm just pulling in more of those direction of form strokes so you can see that this is really a hill and we're just starting to create it early on, even though this is all just the highlights. But this is all gonna help us as we're building the photo of the painting later. So since I've just gone over the surface with another wet brush of paint, I know that the whole area is still pretty What? I am going to start adding some of these purple flowers. So I am taking a Matthew Palmer tree brush. Um, if you have a fan brush that might work, or just a old brush that's pretty briskly. This is the Matthew partner treatment, texture, brush small, and you can see what it's doing As I start to apply these flowers, Um, I want the background to be wet so you can see the paint kind of spreads of it. And then, as we start to add in these flowers, I want to keep in mind that the close flowers are going to be way bigger and the back flowers are going to start to just be little dots in less detailed. That's gonna help us create the depth of this image. So as of right now, we're just getting in the base highlight, and you don't worry about them too much. But obviously you don't want them to be too big starting to create some of the more far off ones. And and all along the line painting these. I'm keeping in mind that this was on a sloped hill, that everything is kind of sloping downwards, and creating the flowers that way instead of straight across is going to help give the illusion of the slope. When the painting is finished, the consistency of the purple paint that I'm working with is just a really light color. And by the way, this purple is just from the pan. You can see it down in the bottom of the screen, and it's Ah, violet color. So I feel good about the placement of these flowers and that that's where going to have them later. I am going to start to add some of the grass or weeds to this photo. Eso I'm going to mix up some more of my green, going to use both greens again. Still, a little more of the light color, as we want to keep that pop of brightness is the trees were going to be a very the very dark green. So I broke out my medium tree brush, and I'm just using this to pull upwards and create these weeds. And as I get further back, I'm just kind of dotting in, and that's helping show that they're smaller amounts. You can see I'm just sort of sporadically paid placing these bits of color, and it's because this is early on, and I know that I'm going to do a little bit of dry brushing and glazing, and that this detail isn't really going to stay. Keep its hold yet, so I've just kind of placed them everywhere. That I feel like later is going to be filled with village and window. Clean out my brush and add some yellow, which I realized after words after I glazed, the yellow really disappears, and it does turn up as an undertone, but not really as flowers. So if you want to forgo adding yellow, you can. But I'm just kind of doubting it. In places where I've placed the green, I thought maybe it would be a good flower effect, but as the painting goes on, it did really wash out. So at this point, my painting is in the ugly duckling stage, and it always kind of freaks me out. So I went for a more drastic, darker color to help start start shaping things up. I decided I wanted to paint in one of the baby pine trees here in the foreground because I wanted one the dark color to help show me what kinds of colors continue to paint in this foreground, but to just to kind of give me a test of what these pine trees were going toe look like so you can follow along as I just painting that pretty light colored. Still, even though it is the darker green, I'm painting with a watery consistency. And once I'm finished up with that, that will be the end of this video. And in the next video, we will add to the foreground now that we have some of the base colors and ideas of what's gonna be in it. 5. Washington: 4 Ground Midtones: So I decided I wanted to take on some of my dry brushing technique that I do a lot in. Well, I do it mostly in water, but I think it would work good here to do some of the dry brushing and glazing. So I'm taking my five round brush. It's I use it a lot for Dr Rushing, so it's pretty scraggly on the tip, and it's good for that. So I'm mixing up the light and dark green, a little more on the dark green side and just wiping off a lot of the paint. And then I'm just taking this brush, and I'm just lightly putting it down in this slope. Diagonal direction just going to be creating bits of texture on the ground and the grass. Look, you'll notice as the longer we do this, the paint is run, the brush is running out of paint, and it's starting to create even more of a cool texture. And so I just keep using that. This is what I love about dry brushing. Don't be scared of how this is looking because we're going to glaze over it, and this is just helping our process. It's all about layering and creating these different elements. So I just keep getting this bit of color down everywhere. And then I grabbed my 12 round just full of water, but I dry it out just a little, and I'm starting to just lightly run over everything we were working on so tryingto missile apartment, pine tree, but not too worried about it because it was done faintly. And we've got a lot of detail work to do over the top of this. So you can see as its glazing that this is all just sort of giving texture down. That's gonna help us create this land so well. The ground is still damp. I want to take advantage of that, and I just took my five brush back out, and I'm working with the green mixtures, just getting some more of those sloping lines of grass texture. But it's kind of spreading because the paint is a little bit wet underneath and grabbing more with the light green. And because I did not dry it off on my paper towel, it's going down a very dark, and that is OK because I'm going to use my 12 again Nice and damp and just smooth that out and in. And this is creating the color of the ground that I remember and that is seen in the picture. It's a much more vibrant green, so we'll just continue to smooth that out. Then, now that it is pretty damp again, I'm going to go back to my violet color and replace these flowers. And it's OK that they, um, were there and that they're very light because any bit that we add on top, especially if you add them in a different spot that we're we're adding this texture and different bits to them that it's all about layering. So I am trying to be a bit more detailed this time around and you can see, as I'm doubting upwards on these front ones that these flowers, if you've seen them, you know what they are. They have a couple of flowers on them and they go downwards, Um, but for the far away flowers, I'm just lightly tapping down and getting these groups of flowers. But now, carrying about the detail of seeing one individual flower doing the same thing with the closer said once again so that you can kind of see them a little more defined, and we will come back to these flowers a little later. This is still just getting down the base color to them, - so feeling pretty good about the purple. Move that out of the way and I am going to paint in some of the taller grass and weeds that would be in this picture. So I'm taking the green mixtures and just starting to brush this in starving upwards to create the texture that would look like grass. I'm wanting this to be a thicker consistency and not too watery because you want the individual breast strokes to appear, and I'm just going to start to scrub this in everywhere. Keep in mind the closer bits of the painting. You can make these bits of grass appear more defined and longer, and as you start to get out farther to make your strokes very short, that this is farther off in the distance, I will keep mixing up greens. It's just kind of a mixture. It's okay. Toe have different colors going on, because in grass, especially leads, you'll see all kinds of greens so you can see as I'm getting back farther. I'm just very lightly tapping in these bits of grass, holding the brush very lightly and just pressing down and getting these just bits so that it's adding texture and detail, but not too crazy, so feeling a lot better about the foreground, it still needs a decent amount of work, but I think it is safe to say we can start working on this lot of pines on, so I will see you in the next video. 6. Washington: 5 Trees 1: Welcome back. We're going to get started by mixing up some of our greens that we're going to use to create these pine trees. I'm no start from my natural green and coming Mix it in with this natural grey, which is the blue grey over here. I just want a nice, dark consistency, but I wanted to be a little bit watery so that we're not working with something too harsh to start us out. So picking a spot to start and I'm just going to get going on this pine, I picked a spot that is probably a pine that's going to end up as a background pine. It still matters because ultimately the shape is going to be seen in places, but it's a good practice, starting one. So I am going to be using a three round brush for most of my tree work. It's a nice small size so that I can still get detail with tips and have more control so pines can be done in a lot of different ways. Um, I'm going to be trying a couple different techniques throughout creating all of these different pines, and we're starting this one focusing on the main pencil line and getting a tip and then going downwards. From there, I'm creating these just branches that spread outwards, lightly dotting off of them. I'm going toe, zoom in so you can get a little closer. Look at what I'm doing. I'm not creating these to go each time. One side, some from our above. The other. You want to give it a realistic look, and that's that's a way to do it further down here. I'm creating a couple of the main branches before I start adding all the dots and needles coming off of them. So then, after I got those will see, I just start to fill in, created to look more natural once again getting some of those lines in. First, get a little more paint and just going toe, fill them in. This is a technique that does take a lot of time, but as you can see, this tree is looking very nice. It's not your classic just all needles down. It's looking more like a realistic pine tree, and so that's what we're going for. Buckle in because this is going to require lots of patients taking a step back and looking at this pine, I noticed that in the picture, most wouldn't have a nice tall top get skinnier. So I was adding to the top here. Then we're gonna mix up some more green. I'm just going to grab the natural green and add it to color. Have going and start on another pine, you can see as I start each one. I don't do the fill in part because the top of it doesn't need as much and then go back down and create these branches that stick out and then start the fill in again a zoo starting each one at the top. You want to make sure your breast stroke is nice and light as you want that very top to be with this point so you can see sometimes it takes me a couple strokes to get it. I'm trying so very lightly, what quickly going to move on to a country that's right next to the 1st 1 we did This one should be behind the country, so I'm working with a lighter bit of color. It's a little more watered down, and when I reached the side that should be going behind the last palm tree pine tree. Um, I'm just lightly tapping, trying not to get too much more Pete build up on the front that way, way. And as that one is in place, I can tell that the one that looks like it's in front needs to be darker. So grab thicker, concentrated paint there and just start dabbling on bits not everywhere, but in just parts so that it can look like part of the branches that are coming more forward. You can see, as I start to fill in mind that it's quickly just giving it more of a three d look. And it's also becoming more in front of the other countries, so grabbing any thicker, darker bit of paint again, I'm going to create one of the pines that is supposed to be quite a bit closer. So it'll be pretty tall that will create the the dynamic that is closer. So creating the top here, just starting up nice and high and creating those branches very sparsely. Then, as we start to go down getting a bit thicker bit farther out, creating these pines can be a pretty relaxing project. It just requires a lot of patients. So if you're not in the mindset for that right now, I suggest coming back to your painting, because from here on out, we're going to be creating these and I want to be relaxed and just in the mode to do them, as Bob Ross would say, Happy little trees. So it's good to be in a happy mood while creating them. You'll notice, as I'm getting lower on this pine and starting to go in front of the others, that my paint consistency needs to be darker. So I'm going to be adding a little more of that natural grey, just that nice, dark, bluish color to my green and just creating a stronger, darker consistency that can help this one really pop forward. For all of these trees, keep in mind that you can go back over them with darker color. You can add in more branches, so if you're feeling too sparse, don't worry or feeling to light. Don't worry as well, because you can continue to add layers, and that is actually a helpful thing and creating it to look more three D and realistic. Just this last bit. I'm going back over the tree and adding some more layer and color to make this tree nice and dark, because I know it's going to be a front foreground tree. So finishing this big one up, I am feeling that I do want to start with most of the background trees now, now that I've got a little bit of what the future holds for this painting. So when we come back, we're gonna work on some more of the lighter, farther away trees and work on tree part too. So see there. 7. Washington: 6 Tree 2: Uh, okay, jumping back in, we're gonna mix up some more of our green. And as I said in the last video, we're gonna work on some of the farther background trees so you could make this green a pretty nice, lighter, watery consistency. And I'm going to start on closer to the far left side, as I am right handed. Then I can work from left to right and not rest my hand on any of the weapons. So jumping right in, I'm just getting going with what I have for my treat process. And I think everyone's trees are going to look a little different And how you feel comfortable in creating a lot of, um, whatever your processes is maybe different than mine, but basically come up with what you feel like. It's a good process and just be patient and move along with it down the line. Knowing that these trees are going to be probably the farther background trees, you may not want to take us much time on them, but I prefer toe. Just get all the details in not knowing exactly where the trees in front of them are going to be or how dark they're going to be to cover him up. So I'm just keeping it pretty nice and detailed and going to be creating a lot of trees here. I mentioned earlier that this image was from my trip to Washington state this past summer, but this view was just incredibly breathtaking. It was, ah, cloudy day, and I was pretty convinced that once we got to the tip of this mountain that we weren't going to be above the clouds because how cloudy it was. But my friend Kendra, who has lived a little bit in Washington and Canada, she's been around mountains a lot more, and she was pretty convinced that we would peek out above the clouds. And as I'm driving around this curvy bend and going up and up and up, finally popped right out and got this just breathtaking view and I just remember as we get it, took the trail up on the mountain and got this just 3 60 of clouds and mountains peeking out all around us that I just you just feel live up there. So painting this and it's just for me getting to remember all that. It's a lot of fun. Here, you can see I created a couple of the, um, stems are Well, they're not flowers, but the trunks of the trees and just kind of seeing how close I want them to be. Got that part sketched out first, and then I'm going to fill them in. Now I'm going to speed things up a bit as I'm working with the same process for quite a while. But feel free to just follow along in your own time and pause the video when you need to catch up. Even though all these trees are further back. I am creating different heights because they are different variations of how far back they are. And this is really gonna help give us the full dimension that there is distance between all these pines that they're not all in one row. So even though all of these are further back, it's good. Teoh, make them different heights and different close and far. This, uh, doing a lot of filling in further back behind this tree as I wanted more trees back there with. So here's another spot that just seemed to barren that I needed a tree to be farther back to cover up that hole. So I'm just lightly putting in one that looks to be the furthest back. And as I'm putting it in, I want to get this other one a little more height on it. So it looks closer and back to just filling in. Here can kind of just stippling dots everywhere that it's It's not a big deal because it is going to be further behind and we will add some more darkness to the ones that are in front of it. So I'm going to finish up with one more here and then that is it for this part, and we will continue to work on the trees in the next part. 8. Washington: 7 Tree 3: all right, so we are starting to fill up this hill here, and it's starting to bring the painting more alive. But we have a lot more to do with creating depth for these trees and filling, so we'll jump back in and create some more far away trees over in this far left side. Uh, I had a wooded it at first because I have this big one that's going to be close to the front right in the foreground, and I don't want to get too much down behind it, because when you're painting with water color, it is hard to create the layers over the top of each other when you're especially when you're working with dark colors. So feel free to keep these pines a lot lighter, as I'm not sure how far the branches of that foreground pine are going to come yet. Oh, so as I start to work down the line again, I am going to create a couple of smaller and lighter more fill in trees. So even though I said we were working on the back trees, once you start to look at the picture, you realize that you need things to fill in these gaps. And so you need more light trees getting a couple more small ones in, Uh uh, painting is all trial and error. You know, you do something and you have to go back over and do some more. It's a part of layering, and it's just something you get used to over time. I feel like it's also a lot of not knowing what you're doing at first. Um, well, maybe you know what you're doing that you don't have dark to make things. So I'm gonna go back over a couple of these trees that I want to be closer to the foreground, like this big one here, and I'm going to darken it. And that's the beauty of what we've been doing. Painting light is that we can go back through and darken. So now that that is to a darker point, I am going to use this nice, dark color that we mixed up. I used my natural green with a little bit of that, um, natural grey. That's helping darken it. And I'm gonna get started on one of these trees. That's over on the left, but it's closer to us. so you can see as I'm painting it in. It is a little bit darker than the other ones I'm working with, not too much. And that is okay, because I can always add more dark pain where if it's too dark, I can't really take it away. - And we're gonna keep going down the line, creating another big one that's a bit closer. I hope that by this time you've come up with a system that's helping working for you to create these trees and that you're enjoying it. And if you're not, if you're hating it, way still got a lot of trees to go. So sorry I am going to speed up again, because at this point I'm continuing to do the same thing. So if I get too far ahead, just feel free to pause and catch up. You'll notice on this one, even in fast time that I'm looking that where I want this trunk to be in just slightly, getting that first straight trunk in as all of them you can see. This one is another one that I'm going to be filling in that white space. But this is going to be a closer one. So I'm making sure that the paint is quite a bit darker than the trees behind it. And I'm starting to with all of these spaces phylum in with closer trees in the front. - Uh , - so I'm going to finish up this tree that I'm working on, and that will be the end of this video. And we will have one more where we just fill in the gaps in spaces and to start to darken some of these trees before the next video. After that, we will move on to the big pine that is in the foreground. See, in the next video, yeah. 9. Washington: 8 Trees 4: all right. So I'm mixing up my nice dark green that I've been working with, just getting a little bit of fresh stuff with a nice, thick, um, creamy consistency and getting right back in to the painting. At this point, the painting is starting to really fill up with trees, which is great, but we've got some fillers to do and some darkening to do to help add to the cartoon realism that we're going for with this style. So as I'm working on this closer one, you can see that it's taking me quite a bit longer, and I'm just it's because I'm creating more detail. I know that if this picture were to be blown up to a size 16 by 20 year and larger that I would want thes foreground pines to really have the detail that I'm going for him. So here I am, putting in some of these tiny, far away pines. If you look at my reference image there waas, a little landing and a little clearing that you could see how far out it went with the size of the pines. So I'm going to try to really give that depth in the image. But right now, as I'm putting them in, they just look like little miniature trees that don't belong. So that way we will come back to this area. But I'm going to start to fill in and dark in these foreground pines. I think that this is definitely a fun part where you can just be stippling in color in odd areas and places. And it doesn't have to be quite as precise because whatever you add to it is just giving it a three d effect that some of the branches are we becoming forward and this little dark bits are giving that that's really helping. So I am going to speed up this process again. I just won't have thes speed going quite as fast. So you can see that all kind of work through a lot of these pines to be giving them that three d effect. So I don't know about you, but this is to me the fun part of the painting where it really comes out of its weird middle stage and starts to come into some of the final elements. These trees of really come to life for me and I love that part. It makes me excited. So I've decided to grab a lighter bit of color, and I'm just filling in a couple more behind trees, mostly just tip tops show that there is just distance, and so you're painting will probably be different than mine and where you have these small little blank spaces. But you just kind of want to fill it in so you don't have anywhere that you're seeing straight through the clouds back there, because that's going to keep it from looking like way really have a huge field of trees. We still have to do some work down to those bottom trees to bring them toe life to make them look like they're way back in the distance. But I think we're gonna be doing a little bit of that through the groundwork. I'm not promising and go back through a little bit of retailing or lead. At this point, great bulk of the work is done, and we are going to get started on that big pine that's in the foreground. - Well , 10. Washington: 9 Big Tree: so I'm going to be grabbing that nice dark green that we've been working with. I don't know about you, but I've been slightly dreading this big pine. Sometimes when you're working in a picture that's daylight and you're putting something in the foreground that's not going to be completely silhouetted, there's a trick to it and getting color and detail that is hard. And so I've been kind of putting it off. I knew it needed to be done later, but I've also been slightly dreading it, so we will work on this together. It will take some time doing the recording afterwards. I know that we'll go over pieces and rebuild and add more layers and dimension, so to give us the picture that we end up with. So if you like the way it turns out, just follow along and we'll get there way, way. So as I worked my way down, I am working in the more sparse branch to branch situation, not filling in everywhere like you'd see on maybe a Christmas tree pine, or even how these pines look from far away because when you're up close to a pine is gaps in areas that that you can see through So and of course, working with layering, we can come back through and add more versus be filling it up too much and not being able to take away. So it's a slow process working your way down. We owe Theo way, - way , way, way. Just, uh, painting out a couple of the branches that I know I'm going to be filling in. Sometimes I like to do stuff like that because it's going to help me visualize what's coming next versus me just putting down this random paint places that I can't visualize the branches in. And as I got farther down, my pain consistency definitely got lighter. And this had more to do with, um, just being cautious, a cautious approach to how this was going to turn out knowing that if I painted in something too dark, it was going to be hard to build over, and I wanted there to be layers that pop out in front of them. So keep yours a little on the lighter side to going to take the darker Pete now and start to draw in some of these branches that are coming straight forward at us, and this is going to once again help with the dimension of the painting way and grabbing a little bit of the brown here, drawing in the actual trunk of the tree in places where I believe that you're going to see it. Um, I didn't want to take it all the way through because some branches are going to be covering the natural way are right. And now I'm gonna mix up a nice, watery consistency of my dark and start to come back through the whole tree just adding in a lot more pine looking branches and filler that's going to help really turned this thing into a mass instead of this sparse little, uh, scarecrow tree, you know, so just stippling in paint and really filling in these places, you can see right away that it's helping out a lot in the top. - No way, Theo way. And as we work our way lower, you can see that starting to kind of have war against those background trees. So just making sure that stark enough to kind of go over home, way, way, way. So at this point, we've done a lot of filling in But the tree itself is still very light in areas and could definitely use as the big foreground piece more detail work. So I'm mixing up more of that paint and just starting in in areas, painting along really nice and dark to help like we did on the background trees give these dimensions of light and dark spots. - All right, so we have taken that tree a long ways in one part, and we are going to start working on all the ground, this grassy area to help really bring photo alive. And it's gonna help us as we get that part done. Know how much darker or more detailed we need to take this tree, if at all. 11. Washington: 10 more Ground work: All right. Well, welcome back. We are going to really start to transform our scene, um, ground grass area. So I am going to grab my medium tree brush, and I am going to mix up this a little bit of orange, little bit green, little brown. I wanted to kind of represent you see in this picture some of the more dying fall colors that you would see in a way back in the distance. So just brushing some in, keep in mind that probably going to do a light wash layer over the top. So anything that, like this bottom area, it's too big smudges. And we're gonna fix that as we wash it together, grabbing a little bit of the green for farther up, just creating this downward slope that's going to help show that it's a hill, all right. And here will grab some of just a wet brush nice and damp and start to kind of wash together. Smooth out that area. So it's not just these two smears of this orange color, and then I'm going to continue back in with that brush and just create these shapes that are showing that Hill is going downwards and satisfied with that. I'm going to start working on some of the stems or weeds that are going to be going upwards . So I'm just making sure that thes are at a slight angle as they're on a hill. So we're just keeping that in mind as we create them, and I'm working with a pretty light color, so it's not popping too much, but we will come back through as always, with darker colors. So here, going to mix up some more of the green, a little bit of the orange color and both the greens. And now we're going to just go through and start to create all of this grass. And as we're closer to the front, I'm going to be creating these bigger, thicker strokes. And as I get farther back, there's going to be stippling a lot smaller so that the strokes are smaller and look like grass off in the distance. Way keeping in mind the whole time that you are working on the slope. No. So just keeping this up and add a little bit of darker green and continue the same process darker bits in places so that you have a mix of both colors, as grass does have multi color looks to it. So I'm just going in with my damp brush and smudging out a little bit of that bottom because we want this to really look like a Hill way, way and and that I'm going to actually take some of that green I believe in Drop in the Hill so that you can see where it would shift, then continuing with that damp brush and just rubbing out anywhere that looks to defined for this point in the painting or that far back shouldn't be that to find. It's great because we're not taking out all the detail, but we're just smoothing it so that you would see the background, um, of the painting does even what you see with your eyes. It gets less clear, and so it would almost look like a smooth blur It way, all right, so after that, we're gonna come back into our weeds with more of the green color and just continue to just think in that and add more variety that is starting to look pretty good, and I am going to grab some more of my purple and go back into these flowers to give them more dimension for these flowers. I'm just going to grab a small round instead of tree brush that I have been using because I want to have more control and creating the detail here. So I've just got probably a one or three I can't remember, and it's gonna help give us a lot of control now. I can't remember the name of these flowers, but we actually have them here. Minnesota to in the springtime. I have ah wildlife refuge that is not too far from my house that we go walking in. And it was over about three weeks that these just bloomed everywhere across the fields. It's just gorgeous purple as far as you could see. And, man, I really wanted to do a photo shoot when they were out. But, alas, they ended too soon, and I missed the opportunity. So it was really great to see them again months later in Washington, just blooming up on the top of a mountain. So as I work further back with the purple getting less detailed and even a little bit lighter in my coloring Okay , so we are good with that for right now, and we're going to start to add in the baby pines in the next video. 12. Washington: 11 Baby Pines: so hopping back and we're gonna mix up those greens we have and start to work on these baby finds. So I'll come back to the one we pretty much I don't know how yours looks, but mine is pretty much almost erased by all the glazing and weeds we were doing. It could still see a faint outline of it here. And I'm just gonna go over it and create this baby pine moving along much faster as we've had a lot of pine practice and and these ones air littler. So in the picture, these are kind of everywhere, and I do want to do a lot of them. But you can see in my final painting I didn't put in quite a Zeman e you can do is money, as you would like. Just be sure when you're creating them that you're paying attention to how far back this landscape goes and that you're making them small and big up close and just really keeping in mind that three d effect that's going to give us the depth of this image way. Yeah, - So I'm going to get another bigger one right up close here way and coming back to that when I work done, it's a little too light. Just gonna go in some darker stuff. Uh, okay, so now I want to create some of the shadows or maybe weeds that seem like they're falling over. So I am going to grab my five brush the brushwood to call my scraggly brush. It's been used a lot for rubbing, and I'm gonna go through and start creating these little shadows right at the edge of the trees. Just doing a nice scrubbing motion, Really Light, light, amount of paint on the brush. So I noticed that my white clouds back here, even though we did run Ah, very light blue all the way through them. They were just standing out as to Stark, and I wanted to create a little more dimension to them. So I'm just taking a really, really watery blue and just smudging it in in little areas that can help these toe look like little breaks in the clouds where they're building up on top of each other. Ideal circumstances would have been working on this before I got the trees in, as we're gonna want to be careful toe work around them, but we're working extremely light. So it's not too bad as I pop in that color. I'm just adding the tiniest bit of darkness to the bottom of it. And then I am going to sponge out with a paper towel so that this is not standing out is to defined and that we don't get any hard water lines in these soft clouds. - Uh , so that it's not quite what I want to do, but we may come back to them. I'm gonna go back to the good of land. Seen for now, Yeah. 13. Washington: 12 Final Details: all right. So we're gonna go back to that big trees and just fill it in because us is painting has come along, can just see that it's a bit too sparse and to light in places. So with a nice dark in watery mix just going to Siplin, some blobby areas that are going to help fill in. And I'm going to slowly thick in the paint to where I wanted to be more defined way, way. - And as I've got it thinking here I am just going to zoom in on the process and show just the bit of stippling and really filling detail that I'm doing, - taking some of the edges of these branches and just giving it that really thin tip to the point. Where are all the branches? Meat and go out? Uh, way. So there we have it super nice and filled in, and I think looking really great. So put on the finish finishing touches of this whole painting, and then we'll be done are right going to mix up my greens and just get some stems in for these flowers. Working with a thin four brush. Just trying to work with the tip and really create just these small stems fill in that these flowers are just coming out of the weeds that they have their own thick stems. Also, I noticed throughout these last close to the end videos that, um, the sun went down and I got this horrible shadow on my painting from my tripod. So I am sorry about that. But I did get a new lighting system over black Friday, so next videos should be working in a better situation. So that's good. So having filled in the close enough flowers just going back through to some of these pines that worked so tirelessly on and just filling in some detail, darkening a couple that are close and filling in some bare spots because the nature of painting is so different for each person, you may not need to be doing as much final detailing, but you never know. So whatever you see that you want to keep filling in, go ahead. Uh, I'm going to touch up these little trees in the back, just make him a bit darker, and then I want Teoh get the pine That's right behind this. Help creating that so it shows that there's dimension going back from that one. I'm just touching up a couple of these tips. I want them to be nice and tall, so I think we're actually pretty happy with that. Least I am. And I am gonna go back into this fog area because what I did earlier just really wasn't giving it the effect that I wanted. Maybe you got it through yours. But just depending on what you feel, I'm going to go back and kind of wet little areas and then do that bit of dark stippling in these thoughts. This is the effect that I was looking for earlier. But I wasn't working with dark enough color. Uh huh. And then I'm going to be taking that bit of paper towel and just tapping some of it away, and then a nice, watery brush into smoothing out bits. So there we have it. Nice mountaintop landscape. I hope that you enjoyed this video and learn some techniques. And if nothing else, just some good patients on creating trees. I would love to see how yours turned out. Please go ahead and share it in the project area of, um, still share weaken, or you can take a picture and take me on Instagram. I'm at Emily Taylor Art, and if you take me, I will share it in my story. I love to see, um, students work and just see what you came up with and created it even in your own style. So I hope that you had fun and will join me in another class someday. Thanks.