Watercolor Landscapes the Easy Way | Jade Scarlett | Skillshare

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Watercolor Landscapes the Easy Way

teacher avatar Jade Scarlett, Artist, Calligrapher, Educator

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

15 Lessons (1h 3m)
    • 1. Introduction

    • 2. Supplies

    • 3. Basic techniques

    • 4. Transferring the drawing

    • 5. Masking

    • 6. Initial Washes

    • 7. The door

    • 8. The claypots

    • 9. Adding depth

    • 10. Painting the foliage

    • 11. Painting the flowers

    • 12. Adding another layer of depth

    • 13. Cast shadows

    • 14. Final details

    • 15. Goodbye

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About This Class

Learn how to paint landscapes in watercolor the easy way! Beginner in watercolor? This class was designed with you in mind and no prior experience is needed. I'll walk you through every step, beginning with the basic techniques needed to complete the project. If you already painted with watercolors before, this class will give you the knowledge to take your skills to the next level.

At the end of this class you'll be amazed at the gorgeous artwork you'll create and you'll have essential watercolor skills in your toolbox to paint any landscape your heart desires.

For this class you will need the following supplies:

Arches Rough 140lbs (or 300lbs if you prefer) watercolor paper 

Masking fluid + old small round brush

Blue painters tape

MyArtScape transfer paper

Princeton Select round brushes in small and large, script liner, Deerfoot stippler, Bright bristle 

Watercolor paints: Burnt sienna, Raw sienna, Burnt umber, French ultramarine, Cadmium red, Cadmium yellow, Dioxazine purple, Sap green, Hooker's green, Permanent rose

Palette or ceramic plate

Grumbracher resist crayon or tea light candle or regular white crayon

Table salt, container for water, kitchen roll or tissue, blow dryer, pencil

Pinterest board: https://www.pinterest.com/JadeScarlettArt/doorways-and-windows-in-europe/


Meet Your Teacher

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Jade Scarlett

Artist, Calligrapher, Educator


Hi, I’m Jade and I’m an artist, calligrapher, and educator. It is my deepest belief that we can be happier and more fulfilled when expressing ourselves creatively and I'm intensely passionate about teaching and making art accessible to all. My desire is to share my creative journey: to teach, uplift, and encourage everyone to live their best creative lives. My motto in life is "Make art, feel happy"!


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1. Introduction: Hi, I'm Jade Scarlett. I'm an artist and instructor, focusing on botanical illustration and landscapes in watercolor. I am very passionate about water collar off all the mediums I fainted before and and trust me, I've painted in possibly every medium. There is what a collar is and always will be my favorite and not particularly passionate about teaching others how fun and easy and uncomplicated water caller can be. In this class, I will show you the techniques that I've learned over the years that made watercolor really accessible to everyone. And I chose a rustic door because I truly enjoyed painting doors and windows, farmhouses, cottages and European countrysides. And this door it looks like a simple project. But you're going to learn so many techniques that you can then apply to any painting that you produce In the future. We will start by transferring the design to the watercolor paper. I will show you how to mask areas that you want to preserve white and now have to paint around Well, then the initial washes and I will show you how to get the right consistency off paint, which is probably my number. One question. What consistency should the paint be and I will show you exactly what consistency you need the pain to be. As the project develops, I will show you also how to use some specialty brushes that can make life so much easier. And, hey, if the tools are, there are more for using it. So why not use some of those relief on interesting specialty brushes that are available for US artists? In the end, you will have a project that you would be proud off, and you're gonna have so many techniques in your toolbox that you can then apply to making a landscape of your own. I curated a Pinterest board, especially for this class, where you can get lots and lots of inspiration in terms off the windows and doors that I so loved to paint. But if you don't want to create your own and you want to follow along with the project that I'm painting, I am going to provide you with a pdf with the line drawing so you can use that landscapes in this easy and lose abstract style are so much fun to paint. But that doesn't mean that they don't have to have some realism and a level of ah believability. I kind of just may help this word. So when you're painting, lose abstract landscapes less, it's more so. The whole point is to paint some details, but not all of it. Just let the viewers I kind of fill in the gaps, and you see that all you need is a little bit of details, and your view is going to see so much more. So without further ado, let's get started with this class and I urge you to ask me any questions that you have along the way. Post pictures off your projects where I can give you feedback. Let's really be interactive here. I really want you to learn. I really want to share everything that I know about. What a collar. So don't hesitate to ask me any questions, all right? And so let's get started painting because I don't know about you, but I'm super excited by See you in the classroom 2. Supplies: Before we get started painting, I'm going to show you the materials we're going to need for this project. We're going to need watercolor paints. I prefer tube. But if you have a pan with watercolor cakes, that's fine. We're going to need some brushes. I have a couple of round brushes, a small medium large, a liner and a node brush. That's why I was a bristle brush. We're also going to need some masking fluid, a resist crayon. If you don't have this one in particular, it's OK. You can use just a regular white crayon or even a tea light candles. We're going to need watercolor paper. I prefer rough. It's perfect to give texture to landscapes. I like arches. Ah, 100% cotton. Even if you choose another brand, as long as it's 100% cotton, it's fine. This one is £140. If you have £300 that works as well, but no last at £140 we also going to need a palette for our paints. Any palate you have, even a ceramic plate will do. Um, blow dryer helps to speed up the process. Some kitchen row container for water Blue painter's tape, a pencil and transfer paper to transfer the design onto the watercolor paper. I like my ARTscape because there's graphite paper. It's a reasonable it doesn't smudge and you can use either side and thats so we need so let's get started. 3. Basic techniques: Welcome back. Before we get started painting our project, I'm going to show you the basic that makes necessary to complete the painting. I'm going to do the masking fluid first because he needs to dry completely. So I figure out do it first. And by the time we're done, it's gonna be dry and I'll be able to paint over. It is the same reason I'm gonna do the salt wash afterwards because it also needs to dry. So I'm just using a wipe away to a rubber tip to, but you can use a regular brush. I would definitely not use a nice brand new brush because masking fluid tends to destroy brushes. So let's just start by using untold beaten up brush that you don't care for any more. So I'm just making those marks now. Any marks, really, it doesn't matter. It's just to demonstrate how we can mask areas that we don't want to paint around, because that would be really very tedious and time consuming. And when we start a project, you see that I'm going to mask the flowers Now, Next one is thesis Ault Wash. So I'm going to start by using a nice and juicy wash off any color. I'm using Payne's gray here only because Payne's gray reacts beautifully with assault. And I really want you to see the beautiful of fact that the salt wash has it works no matter what color, if you Sprinkle the salt right at the precise moment when the paint is not completely soaking wet but not drying. But Payne's gray seems to work really well. So just Brinkley a little bit off regular table salt, and I'm gonna let that dry completely before we removed assault and you can see the beautiful. In fact, the next technique we're going to learn is a basic watch on dry. And as the name implies, it's wet paint on a dry surface. So I'm just using the whole surface of the bra should see him using the whole body to really lay down that wash quickly. And I can also go on the very tip off the brush and make lines so a big brush can do big areas, but also small detail areas. The next technique is wet on wet, so I start by wetting the surface that I want to apply the pains later I don't want us to be soaking wet, so they're like puddles of water. Just remove a little bit of it before you just dropped paint. And as you see, I'm exerting very little pressure on the brush. Really, The water on the paper is pulling the paint out of the brush and you see wet on wet leaves , a beautiful soft edge of supposed to be very hard edge that wet on dry leads. The next technique is dry brush, so I'm going to load my brush. Justus I did before. However, this time I'm going to remove most of the paint by touching the brush and a paper cow, flipping the brush to the other side and removing even more paint. I'm not rubbing. I'm just touching the brush and holding the brush at an angle the way and demonstrated. I'm just going to skin the paper and leave those beautiful drag marks. They're perfect for textures on wall Stree barks, etcetera. Very, very useful. Four landscapes. The next technique is stippling. I'm gonna use a deer footstep lor load the brush with doubt that much water. If you have too much water on the brush, just make sure you remove some of it before you load the brush. Otherwise is just going to flood and then just stippled the surface. You can load another color and go right over it. I used this technique lock for trees, full age and textures on the laws, really useful technique and a useful brush to have the Deer Foot sticking. Next. I'm going to use a script liner. I'm sorry. The words just disappear for me for a second there to do some line work. That's how we're gonna get details on our pain. Teens. That's how I do a lot of the tree branches and grasses and myriad other things the strip liners and really useful brush for small details. So just it's better to use. The brush is straight up and down. The reason I have it on an angle here is so you can see what I'm doing. Otherwise, only would see my hands. So, as you see, I'm just exerting very little pressure. You want a very light touch to get thin line, so just doing some brickwork now I'm doing some branches. As you can see, this is the perfect brush for those small, thin details you could use the bigger a round brush. If you have lots and lots of control of the brush already, you can certainly do that. But if you have a script liner, why not use it? Right? Okay, that is done. Oh, actually not decided to put a few more details. Okay, Um, demonstrating, actually. How you if you put some pressure, you actually get thicker lines. And here I'm just doing the I on that you see on wood. Don't ask. I just decided to do it. Okay, so next I'm going to show you a grated wash, so I'm just mixing some color so I can have it nice and thick. This is going to be the darkest part of migrated Wash. And that's how you change the values In what color? You add more water and you get your pain to be lighter and lighter. And I'm just touching the top where the paint is still wet so I can drag that paint down. Now imagine more water to the mixture so he gets even lighter and even more water now, without even touching the pain. Just whatever is left on the brush so I can get the lightest possible value, and that's how you transition collars in water color. Now the technique is charging. That's when you blend colors wet on wet on directly on the paper, not really blending your just dropping the collar and the color is doing the blending by itself. So I'm just adding a little burnt sienna here. That's a color that I would would use for long terra cotta pots and just dropping a little bit off French Ultra Marine. I'm not really rubbing or doing much other than touch the paper with the wet brush and the wet color. There is just dragging whatever is on the brush, and you see how beautifully it mixes. And it creates this model, the fact perfect for rustic walls. The next painting is subtracted painting, and that's when you remove paint from the surface. That is a really good technique for clouds, for example, if you're painting the sky, but it's also a corrective technique, so let's say you put color anyone to remove some of it. You can use this technique, so I'm just using a tissue crumpled up tissue and gently dabbing to remove the collar so you really have to work fast while the paint is still wet. Otherwise it doesn't work and just dab gently and you see how you remove that collar. Now. The next technique is very important. It's something edges. So let's say you wanted an edge to be soft, but it dry too fast and you end up with a hard edge, so it's easily flexible. It's not something that once it's there, there's nothing you can do. So I'm just we now some paint, and I'm gonna let it dry for a little bit before I demonstrate how you can self in the edge . In the meantime, I'm just rubbing that resist crayon that I show in the materials just to create some areas that the pain will not a deer, too, because the crayon has being applied, and that's really good to create texture. So I'm just gonna load my brush with any color and paint over and wants your paint over. You see the beautiful of fact that it creates where the paint cannot a dear to the paper because the crayon is resisting it. So now that my soft inning edges square is dry, I'm gonna show you. I just use a temp rush to gently coax that paint that is already dried on the surface to meet with the water. As I soften that edge and you see how beautiful it is now is no longer a hard edge, something a little bit on the bottom as well, so easily fixable. But remember, used just a little bit of water. So now the masking fluid is completely dry, and I'm going to add some color on top of it. And wherever the masking fluid is, you notice that the masking fluid is resisting the pain. Justus the crayon resisted the differences. That crayon is permanent. It stays there, but the masking fluid I can remove now. I'm sorry. This is taking a little bit of time, but I thought my blow dryer waas plug to the war and it's not OK, so I'm just drying that pain because you have to make sure that the pain is completely dry before you removed the masking fluid. Otherwise, it will get quite messy. You could even ripped paper if the pain is not completely dry, so I'm using a masking fluid pickup rubber. You don't need that. You certainly can use your bare fingers. I just I prefer not true, but I just see, I'm rubbing the masking fluid, my fingers, and it works just a swell. So all that area there we had the masking fluid now is wait and without anything. So we can pretend that those flickers you have there on the right side of grasses that we wanted to add some white collar later and even paint right over. You can also get a little bit off read or any other color and pretend a dose. Little circles there flower heads. So I'm asking. Food is very, very useful to preserve small areas that you don't want your paint around because that would be T views and sometimes hard. Now the soak wash is completely dry. I'm removing the salt and see what a beautiful effect creates. That could be a snowy winter scene. Or you can even be textures, world doors, you name it. So why don't dry line work Masking flu age, grated wash charging caller softening edges subtracted pain. Teen and those are all the techniques that we need. Okay, I'll see you in the next video 4. Transferring the drawing: now that you've printed the design I have provided. Or if you drew your own, it is time to transfer it to our watercolor paper. I used a little piece of blue painter's tape to a fixed ah, drawing Jenna watercolor paper. And now with my ARTSCAPE transfer paper, I'm going to begin drawing over well, the lines of the design so we can trust them to the paper. Before I removed the tape, I double check, make sure that everything has been transferred. And once I'm sure that everything is OK, then I'm ready to carefully remove the tape. So not to hurt the paper, and we're ready to paint. 5. Masking: Now it's time to use the masking fluid to preserve all of the areas that I want to keep white in this case, all of the flower heads. I'm using a wipe away, rubber tipped toe, but you can use a brush, whichever one works, to apply the masking fluid. Now that I have masked all of thief our heads, I'm going to use the resist crayon to add a little texture to the wooden doors, a swell as the ground. So I'm just gently rubbing a little bit off the resist just in a couple of areas of the doors, and we are going to wait for all of them, asking fluid to dry completely and one system we're ready to paint. 6. Initial Washes: and we are ready to start painting first. I'm double checking to make sure that the masking fluid is really dried. I'm gonna use my large round brush, and then we're gonna make a milky wash off raw sienna and a tiny little bit off permanent rose to warm it up. Oops, that was a little bit too much. So I'm adding more water, more raw sienna to adjust it. Do I get just the right color that I'm looking for and using the whole side of the brush? I'm gonna add that raw sienna to the brick wall using the whole side of the brush makes the process go a lot faster. What a collar It is dependent on speed so certain techniques will not work if the pain starts to dry too fast. And that's why we want to use the whole brush to evade. That washes quickly as possible since I'm going to charge that wet wash with a little bit of burnt sienna. Just priding. Add a little bit very gently with the tip of the brush and cadging a little bit off burnt number to the other side the same way I did with the burnt Sienna. Now tiny, little bit very diluted French entre Marine. I'm trying to create a model defect, and that's why I'm charging that wet wash abroad. Seanna with tiny bids off burnt Sienna, burnt number and French Ultra Marine. Now a Madine. A little more off, do you? Rossi and I'm permanent rose mixture to the side, spreading that burnt umber little bitch with just plain water. I'm dragging that raw sienna dial to the side and charging with a little bit self burn CNN bunch number again. Same process on the other side and adding a little more raw. I mean, I'm sorry, burnt sienna this time, and I'm leaving the areas around clay pots where the foliage will be without any collar, now adding a little more off that raw sienna to the ground. And I'm mixing very peel warm gray with burnt umber and French arch Marine and even a little bit of that raw sienna mixture and covering the ground with that mixture, adding a little more some playing water to change the value a little bit. A little burnt number on that side. I'm just trying to achieve some color variation a little bit more of that raw sienna mixture, making some adjustments just kind of cutting edge closer to the door, all the spaces that were left white. I'm just being a little more careful, so I don't paint over the door adjusting the amount of burnt Sienna that I want on the wall , and the paint is still fairly wet so I can continue to charge. That's one of the reasons why so important, she used 100% cotton paper because the pain stays wet longer than if you were to use a chipper cellulose paper. And that gives you more trying to work on techniques like wet on wet and charging paint. All right, this first washes air done and move to the next step. 7. The door: now I'm going to makes small color for the door shudders and the mixing French ultra Marine a little bit of parliament rose, adjusting how much of each call that I wanted to get. Just the right malls that I'm looking for. Be very careful with the application off paying No, only because I need to leave some white gaps in their delusion of light and give it a more three D effect. So I'm using the tip of the brush and be very careful. Why label that wash on the wooden shutters? I'm going to continue about the coal moving wide gaps, right? Lots to see on the shutters. Um, I'm gonna do the soul with a bottom part off shutter. - Whatever its loss talk, that more I'm going to add and some number. I'm trying to guard two panes of glass panes, so I'm just adjusting the amount Chul's ultra marine and burn chamber. Do I have a fully cool gray now? I'm cold. Well, then used to put the brush to carefully paint the glass bones. I'm trying to avoid that area in the center so I can make it a little bit lighter later on . So with that rich bark grey just or will the glass things on Continuously loading my brush. So dunks the same God tone of a home For now, I want to be uniform later. I'm gonna be charging moved. I'm just trying to deliberately What about all round to be now I just touch brush with a little bit of water to make that center pods wider. Um, a little little opening blue. I'm gonna start charging different meals. So I have some call evolution more in the long A little bit of bone tumble as well. It's important to create that followed variation so it doesn't look uniform gold So long new shadows fall. You would be seeing from outside their shadows of actual object you would see through the glass. That's what we're trying to recreate here By changing the collars now with harmful tissue paper. I'm just making bad area in the center a little bit lighter. That would be a reflection on the glass. See, whatever is left of that cool, dark gray. I'm going to all pinch of water on a very light gray this time, and I'm gonna have a little bit off. Losses are because I want a woman up. Sorry. Warm it up a little. So I'm just adjusting to see That is just the right follow. Try it on. This crop is a paper. It's still a little bit sure. Cool. So little more Ross. You know, that should do the trick from Bob's warm grow. I'm going to paint the door frame. I'm going to make that wash uniformly all over the door Plane leaving a white gap right next to the shoulders and a ban on being careful here. So I'm using the tip of the brush, which gives me much more control off the earlier on just following from little cultures here and there to control the details. And are we going with dry and continue? 8. The claypots: to paint the clay pods. I'm going to start by mixing some burnt sienna, um, fairly milky mixture. I don't want a true dark, but I wanted to like either. I'm doing the same thing with a little bit off the raw Sienna. I just want to make sure that I have both collars mixed in advance. SEL. I can charge one color into the other. So just starting on that little clay pod, we the with the brain Rossi and a mixture now charging a little bit of burnt sienna to create that model defect off clay pots. Now for the other clay pot, I'm going first with a little bit of burnt sienna and just applying aloe over and charging that with a little bit off burnt number at a little bit of that burnt umber to the clay pot I painted before a swell, just adding a little bit more here and there just to reinforce the collar from the areas I wanted to be darker. Now I'm drying the clay pot so I can paint the ones next which, if I were to paint wild paint, is still wet. It would bleed because water attracts water so if you want to paint an area next to an area that is wet and you don't want any of that color to bleed into it, you need to make sure it's dried first. So I'm just adding a little bit off Rossi and I'm I'm just following the same procedure I used for the previous pots, adding little bits off burnt Sienna, raw sienna and burnt number. I'm just trying to change the amounts so they all look a little different. I don't want them to look the same. Like little soldiers. I'm actually adding a little bit off burnt umber there to create a shadow, and that helps to separate the two pots and make one look like is further behind, just giving a little final touches, and that's done. 9. Adding depth: now to create depths on the wooden shutters. I'm mixing a darker version off the same mauve we used to paint it. So I mixed French ultra Marine with a little bit of permanent rose and even a little burnt sienna to dirty it up a little. And I'm just creating the cash shadows around that Z frame and that will make the shutters look a lot more Sri dimensional. So the drawing already had the areas delineated. So I'm just painting over it, and I'm being careful to not go over the white that we left previously. Most of painting the rivets now rugal back later and add more shadows to it. So you look a little more tree dimensional, mixing a little French ultra Marine, which permanent rose and even a touch of raw sienna. Only this time I'm making it much stronger and going over once again to create even more that steps. And also now I'm doing the what should I call it the lines on the wooden shutters. I'm just basically going over the drawing at this point and using a script liner to create those details. - Well , I'm turning the painting around, so I can easily work on the other side without risk smudging the one I just painted. And I'm doing the same exact thing that I did before now , turning the paint around again, making sure I captured all the details. And I'm going to do the same thing. Create more deaths on the door frame. Now I'm mixing burnt number and a little bit of franchise Marine to create a dark brown. And with still with the script liner, I'm just going to add some details to the door to make it look more trade dimensional. Softening those lines a little bit with plain water. I don't want the lines to be too harsh, so softening a little bit here and there gives him much more subtle effect going over the door handle, adding a little shadow to the rivets. I'm still using the scene collar that I used for the door frame. What they did was dark in that mixture a little bit more so I can reinforce those details again, using the same technique off, suffering the edges a little bit now, mixing a warm, raw sienna with whatever was left on the palate just to create a little shadow color for the sides of the doorframe, adding some color to the step right in front of the door, mixing a dark warm gray with burnt umber and French marine, and defining those shadows under the shutters and the steps and again softening the edges, mixing a little bit off dioxins in purple with a touch of burnt sienna to create a dirty purple. I'm going to paint the shadows on the ground. I'm leaving gaps here and there. I don't want it to look solid. That also creates interest, because those would be little bits off light shining through that shadow, making a little bit darker mixture to create the cash shadows right next to the clay pots. I want that to be darker than the shadows we just painted on the ground, since those are very close to the objects. So they would be much darker, just adding a little bit of raw sienna on top to soften their shadow and adding a darker mixture now to parts of the shadow to create more interests, making a dark brown with burnt number and a little bit of French ultra marine and creating some stronger shadows on the rims off the clay pots and also reinforcing the shadows around the door frame 10. Painting the foliage: Now we are ready to add some life to the composition. So we're gonna start painting forage. I'm using my large bristle brush crabbing some of that light green on my power that you can easily make mixing ultra marine blue and cut me yellow is you don't have any greens on your balance. It's a very light green, so we're going to mix a lot more yellow than blue. And I'm just stippling. The claiming loses first and little village on the clean pots. It was a bit too much, so I quickly removed, went, uh, tissue paper before he drove to that light green. I'm adding a darker green hooker's green again. If you don't have a mix cream, just hide more blue to your mixture. To get a doctor green, you might need to adjust it with a little bit of burn number. All I'm looking for, it's a darker green. At this point, I want to have three values of green Jimmy Forage look very luscious and full. I just added, A little bit of my dog is going have been stepping back too much. I don't want a cover over the other group that I've already applied. We will switch to the different stickler now so I can add a little bit of very dark, just little touches here and there. That's why I switched to the dear. Put Stickler because it would be harder to get small stumble with the big bristle brush. I'm just reaching for my 1,000,000 size a round brush so I can so home extra lose over help the foliage that I still hold. I always like to lose a round brush after I staple travel. Little details. Warm March Manny Just a little bit here number for more news on school losses. More, although it's easy to get in the way. Trust me, I do well. I try to remember not to get carried away, um, Abbey, but saying Depay leads as I did with Bob. Bring along now using light group, I have been added a little more cadmium yellow so that writer greens and moral pain and he will show on top Great Wall and that's it for the judge 11. Painting the flowers: So now that the masking fluid has bean removed, we are ready to start painting the flower heads. I'm gonna begin with the climbing roses just makes a very light washed off, Can you read? And I'm using that to fill in below the roses now mixing some cut me were yellow with a tiny little bit off camera red to paint. Mary goes with one of the clay pots and for the creep pots on the opposite side of mixing in a little bit of permanent rose into the cutting bridge and in those flower heads, a swell I didn't like how reddish things were, so I added a little bit more permanent were so they would be more on the properly. Site quantity Amusing little cobalt blue, very diluted. The remaining flower heads now making a really dark gray, is French, ultra marine and burnt umber, and I'm changing some shadows. Your little pebbles on the ground there will give them war dimension. And instead of looking like juice, um, why it's faces there and how they look like actual little pebbles just by virtual putting a little bit of shadows. Now I'm asking the composition with a cow and I'm slicking, some very diluted with a number on the ground to give even more impression off Rocky Road. Now that the flower heads are tried, I'm adding on extra lee off color, the same color used before. Can you read? Only this time? It's not asked admitted. And that will crudes another value, which will be the flower heads a little more dimension. I'm doing the same thing. Go foreign Spy our heads smoking a stronger mixture. Hand you cast. I'm doing the same. Accepting with the flowers on the opposite sides. Permanent grows on docker mixture off about going for the good flowers on That's it for the flower heads. 12. Adding another layer of depth: I want you add some details to the Rose Bush. So I'm gonna makes a little bit off sap green with a tiny bit of burnt number to make a dark green. I'm just creating the trunk and some branches around the roses just to give a little bit off. Um, more realistic touch so they don't look like they're hanging out of nowhere. I'm using the small round brush and a light touch so the branches air. Not to think, um, adding a little more burnt number two the same mixture and switching to the script liner, Um, outlining some of the bricks. Not all of it. The secret when you are painting a loose landscape such as this one, is to add just a little bit of detail and allow the I to fill in the gaps. If I try to draw every single brick, you would look a little cartoonish. So when it comes to details in a loose landscape, remember that less is more, um, darkening that brow a little bit. So, yeah, I can add little bits here and there to the bricks just to give a little more depths, softening some of those lines with a little water. And with that same brown mixture with a little more water adage, I'm just putting some details around the door frame and using the same technique off, softening the lines a little bit. I added a little more French, ultra marine and burnt umber to make that darker. 13. Cast shadows: I want to add some extra texture to the brick wall. So using the deer foots, tippler and raw sienna and a little bit of burnt sienna, I'm just going to step. Oh, a little bit of texture here and there on the wall. Now I want you reinforce two shadows on the wooden doors, so I'm mixing the same purple I did before, only a making it stronger now. So I'm using French ultra Marine permanent rose, and I'm dirtying it up a little bit with a tiny touch off burnt sienna. And that's just a ring. Forced those shadows and give it a more tree dimensional effect. Now, with that same mixture but diluted with more water, I'm creating the cast shadows from the foliage and the roses on top, and with a little bit of raw sienna and a touch of that purple, I'm doing the same thing, casting those shadows on the door and giving little touch ups here and there just to create a more realistic effect because those shadows really create more interest in the composition, reinforcing some off the shadows on the clay pots, just really taking care out. The last details now 14. Final details: So we've reached that part of the painting now where we can take a good look at it and see if anything needs to be added. That would enhance the composition. So I'm just gonna dark and some off the shadows a little bit further, using dioxins in purple and a little bit of burnt sienna, creating a dark, dirty purple to creates a more shadows on the rivets and add a little bit under the shutter to create even more steps. There there would be the shadow that the shutter is casting and with a little bit off my shop green home, adding a few extra leaves to the clay pots where the flowers are right next to the Mary goals. Just a little bit, not you. Many I don't want you overwhelmed the composition. Just enhance it a little with that same sub green, Um, adding some extra leaves to the roses as well, just taking a little here and there and see where I can enhance the composition a little bit more by adding a few extra details, doing the same thing now with the climbing rose. I want to be careful not to lose the variation off green, so I don't want to add too much of that dark green again. Like I said before, when it comes to lose style landscapes, Laissus more so. It's good to exert some restrain here, and I know that's hard. Sometimes we can get carried away. I certainly do. I try. And after taking a good look and deciding that that's it, I'm happy with everything comes the very satisfying part where we pill the tables and reviewed that beautiful white border around. I love, too. Leave that board around even if I'm not taping. Ah, lose watercolor paper two aboard. Even when I'm using block, I still put tape around because I think that white border just makes us so beautiful, even though sometimes you don't even see it after you frame. I still I love to look at how the painting looks when it's done, and I'm happy with the way it ISS. All I need to do now is signing. That's it. I hope you guys had a great time creating this painting 15. Goodbye: this is it. Guys with company out of the class, I hope you've had us much fun learning as I had teaching you. I cannot wait to see what you've created. Please post your project so we can all look at each other's artwork. If you have any questions, If you want feedback, don't hesitate to ask me. And there will be lots more landscape classes coming soon. So stationed. And until then, have fun painting and using all of the techniques that you learn in this class. And remember to shine that light that you have inside you very brightly, lots of love and until next time