Watercolor Misty Forest | Kolbie Blume | Skillshare

Watercolor Misty Forest

Kolbie Blume, Artist

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11 Lessons (1h 24m)
    • 1. Intro

      1:50
    • 2. Materials

      6:43
    • 3. Painting Pines: The “Straight Lines” Method

      6:50
    • 4. Painting Pines: The “Swoopy” Method

      6:58
    • 5. Painting Pines: The “Blobby” Method

      7:03
    • 6. The Misty Effect

      12:12
    • 7. The Depth Effect

      11:15
    • 8. Final Project: Layer One

      4:50
    • 9. Final Project: Layer Two

      7:33
    • 10. Final Project: Layer Three

      7:49
    • 11. Final Project: Last Layer

      10:53
17 students are watching this class

About This Class

Ever wonder how watercolor artists achieve that abstract-like "misty" forest look? Are you obsessed with monochromatic forest scenes? This class is for you! Perfect for any level of watercolor artist, this class goes dives into tutorials for simple practices and methods to achieve a misty forest landscape before taking you step-by-step through your final masterpiece! 

Transcripts

1. Intro : Hi there. Mining was Colby, and I love watercolor. I especially love painting beautiful landscapes in using easy methods. And that's what this class is all about. You are going to learn how to paint, Ah, misty forest and a really easy method like this one. So we're going to use different, uh, tips and tricks that I've discovered along my years of being kind of an accidental watercolor artist to make really beautiful misty forest escapes and to give you a little look into the class. We're going to talk about different methods for painting trees, and we're going to talk about different effects that you can use using one special key ingredient. And in next video, I talk about all the materials you'll need. And in the videos that we talk about the techniques, it will all lead up. Teoh ah syriza videos where we paint this beautiful watercolor misty forest bookmark together. So if this sounds like the class for you, if you've always wanted to know how to paint those, you know abstract, serene looking watercolor forests than let's dive in and explore the beauty of watercolor together. So thanks for joining in and let's go 2. Materials: So before we get started, I want to talk about all of the materials that you will need. Teoh really be successful and have a good time in this class. And there are really not a lot of them first and very important. Um, watercolor paper. You definitely need watercolor paper to do this class. It doesn't have to be professional, but it should be thick watercolor paper and at least £140 um, or 300 grams. So the my favorite professional watercolor paper and I have talked about four is arches. Watercolor paper. It is a little bit more expensive, though, so, um ah, the next. Specifically for painting landscape paintings, I think strathmore the tooth on Stroth. More paper mimics professional watercolor paper a little bit better, but you can use other student grade watercolor paper that's cheaper if you want to, and you can get very similar effects. So those were the brands I would suggest. Kansan is also another good student grade water guard watercolor paper. But I would recommend having to sheets of watercolor paper specifically So one is so that you can practice the trees because we're going Teoh practice different kinds of styles for trees. And we're also going to practice different methods for achieving the misty effect and achieving the depth effects for this forest. So before, just know that the first of these videos we're not going to dive right into the final project right away. We're going to practice thes things first, So get some practice paper. And if you especially if you have both professional and student grade watercolor paper for the practice, I would probably go with student grade first on then for the final project, uh, bust out your professional watercolor paper, if that's what you want. And then, like, I talked about having a sheet of paper specifically for your final project. So actually, our final project looks like this. I did a bookmark, and I know it looks really cool. Right. Um, so you if you want to do a bookmark with me, then go ahead and cut a piece of paper of watercolor paper into a bookmark shape. But if you want your final project not to be a birthmark, that's okay, too. You can. All the techniques that were using you could do on any shape of paper, so that's paper. Next brushes. I would recommend having round watercolor brushes. I have a sigh. I'm using a size around number 12 and then a very, very small round 2/0. I'm not not not a professional. I didn't go to art school. There might be another way to say this number, but this is the size that I have for my small paintbrush. It is very small, and having a very small paintbrush to paint your trees, in my opinion and with the techniques that I like to use, is very important. Now you should know. I should note that with big water round brushes like this, you can also often use the very, very tip off. You're like size 12 or 16 or 10 if you have, um, big round brushes like this. But it is harder to control, and it's a lot easier to put way more pressure than you need. So that's why I would suggest, especially if you will are just beginning. And this is your first foray into misty watercolor forests to get a small paintbrush, and I mentioned this a few times throughout the class, but the most, the biggest mistake that I often see when people are painting their trees is if is when they use too much pressure. Um, or they're using the wrong size paintbrush because then their needles are very thick and they look kind of clunky and not quite as realistic as maybe they're hoping. So if if that critique describes you to a T, then maybe think about getting a smaller paintbrush, Um, and using so much less pressure than you're using. And we're going to talk more about this when we go into the techniques for painting different types of pine trees. So, um, next up is paint. I'm using Windsor Newton professional watercolor paint in Payne's gray. For this, I love doing monochrome misty forests. I think they're really fun. Years don't have few monochrome, but having adding different colors. Ah, it can be really fun, but it's it's just a little different, so we're doing monochrome to keep it basic. I would recommend having professional watercolor, but you definitely don't need tohave professional watercolor to do these types of work. They're just more pigmented and get more color and the way that, um makes thes misty forests really pop. But I understand budgets and do not let yours preclude you from practicing this really cool technique. But if you're wondering what I'm using Windsor Newton professional watercolor Payne's gray , which is probably my favorite color. Um, okay. And then, as always, make sure that you have. You can't see. I'll move them up here, make sure that you have two cups of water, one is going to stay clean forever, and the other one is gonna be your dirty cup of water and then have a paper towel or a rag or something on the side to wash off your paintbrushes. So I think that about sums it up. Uh, so why don't you grab your practice sheet and let's move on to the different types of pine trees and the different methods I used to paint? Hm. So I'm really excited for this. Grab all of your supplies and let's get going 3. Painting Pines: The “Straight Lines” Method: okay. And this segment, we're going to practice the first kind of misty forest tree or the first way to form a tree . The I learned how to do and, uh, like I mentioned before there, I'm focusing in this class. We're focusing on three different ways to form a tree, a pine tree specifically. And this method I have like I mentioned in the materials video I have my, um, round 2/0 paintbrush by Princeton. And I'm using Windsor and Newton professional watercolor and Payne's gray for this time. So the first kind of watercolor pine tree the I use and I used probably most often up until recently, is straight across wines. Okay, so I know that sounds simple. And it you may have tried it not been satisfied with the results. And also, like I mentioned before, I really think that was in part because of the size of your paintbrush, but also probably the amount of pressure that you are putting on the trees. So what we're trying to achieve here is, like, really light lines. Okay, so there's the trunk. And for the straight across method we're going to do, we're gonna leave the to the top of the line to be like the top of the tree, and then we're just going to go straight across the trunk like this. But you see how I'm not putting. I'm barely touching the paintbrush to the paper like barely at all. And as I'm going down, I I'm getting whiter and whiter so that it kind of so that it flares out like that. So it kind of is the typical triangle shape of a pine tree, and sometimes you can put more pressure in some places, so that's that's that method. Um, this is probably the easiest way. The thing to remember with any method of painting a pine tree, though, is pine trees are not even so. Sometimes you get like a perfect Christmas tree like pine tree like that, but other times it's with painting forests. Specifically, I think they look more realistic when you paint lots of different kinds of trees. So with using this same method, we can paint a pine tree, and I'm going really, really light. I'm barely even touching my my my paintbrush to the paper, but we can do this straight across method, but on Lee. How about be a little more sparse? And honestly, a lot of pine trees look like this too, right? You don't always see a pine tree that's really full or even even so, Like, maybe this one goes all the way to the bottom. I'm not versed on the different kinds of, you know, needle trees like this that you see in the forest. So if you are and I am calling, I'm calling all these pine trees. But if they're probably not all called pine trees, I am just just over the record. Um, so this one is a little more sparse on the top that you could even not fill it out to the bottom. But we're still just using this, like, straight across lines, right? So what I mean by not feeling it out to the bottom is going going maybe like stopping right there and having the biggest needles be poking out this way, like toward the middle. The top is still the top is still really small needles, and you're leaving the top as a point, and then you're just kind of go like you're getting bigger and then you're getting smaller , so I know, they're definitely trees and forests that look like this where you can see a big part of the trunk at the bottom. Um, so it just it the way to make your forest look rial is if you have different kinds, so they have to be different size that they should be different sizes. They should be different. The needles should have, like, different amounts of needles on the tree. They shouldn't necessarily be even on either side. Um, and in my experience, at least painting loose like forests like the ones that I dio having that variety is what makes all the difference. So all of these trees look pretty different, but we're using the same method. So I'm just going to demonstrate just we're just making lines like this really lightly with are very small round brush, right? And I'm not making a tree right now. I'm just showing you So this is a light line. This is if I did it. If I push my brush down all the way, OK? Do you see the difference here? These lines I'm pushing down on my brush a little bit more, and these lines are very thick and um, a lot darker. And you can do trees this way to I have just found that the way to make trees look a little more realistic is if you make them more dainty like this. Especially if you're trying to do like a larger, misty forest scene. So OK, that is the first method. The straight across lines. Just we're not doing one side first. We're doing lines straight across and thes air just a few different kinds. So if you weren't practicing along with me, then go ahead and practice this right now. And I would definitely also like the most important thing for you to practice is not putting so much pressure on it. In fact, not putting hardly any pressure at all, just barely touching the paintbrush to the paper and see if that makes a difference for you . All right, on to the next style 4. Painting Pines: The “Swoopy” Method : welcome to the video for the second type of pine tree that I use in my watercolor lettering . I like to actually call this style the swoopy prior entry. Um, it may be, looks a little bit more traditional of how I think we have drawn pine trees in the past where, as opposed to the first style that we talked about, we did line straight across right. But for this style, we're going to dio more swoopy lines and we're not going to do. We're going to do half, half and half. So it's not like all of the both sides at once on this kind of pine tree is probably the one I have been using more often than the last a few months. If you look at my night sky classes, I use this one most often. Which is not to say that it's the best. It's just the one that you know I've been using lately. I could switch it up any time I want. So, uh, now let's let's dive into it. And again, if you want to do this along with me, I would recommend having all of your supplies ready. So OK, the way that I do pine trees, the trunks is almost are almost always the same. So I very lightly do a line paint a line on the paper that acts like the trunk. And then, for this swoopy style, I still leave the top. Very small. In fact, that that top was a little thick for me. I still leave the top as a point, and then I just kind of do a little swoopy line swoopy lines like that and see, as opposed to, um, the straight across lines I do each side individually. So sometimes I'll do one side first, Um, all the way down and other times I will do all just alternate sides and go at the same pace . So but the key for this swoopy style I'm just making little light swoops like this. I'll show you like that. They're so small. And I mean, obviously, if you're painting a bigger tree, this is a pretty small tree. All of these air pretty small examples. But if you're painting bigotry, they'd be bigger. But they're just, like, very light little swoops like that, and they all turn. I alternating pressure. Um, for some of them But I never go like that usually, unless I'm, like, painting the bottom. And I wanted to look very full at the bottom. Kind of again, like this Christmas tree. Perfect pine tree kind of thing. Um, so you just kind off I'm gonna go back to this tree. You do just little swoops like that jutting out. And this kind of pine tree to me looks slightly more realistic than others. So that is one version of the super pine tree. The kind of fuller version like we did up here similarly to like, what I was saying in the other video is pine trees. Our heart hardly ever looked like this, right? If you were to go out into, ah forest to go hunting for a Christmas tree, I say that because my my father in law takes, um, my husband and his brothers out to go. They call it Christmas tree hunting where they get a license and to go chop down their own Christmas tree. But if you're to go Christmas tree hunting, not all of the trees look like this. Um, mostly in my experience of being out in the forest. And I grew up in Utah, So I've seen a lot of trees. Most of the pine trees look like this. Like these ones up here, right? So they're a little more sparse, especially if they're newer and there No, always. Even so again, I use the same method of just like, little scoops. But I wasn't quite. It's not quite so full as that one. Um, but I think they both look like pine trees. Another method, not another method, but just a way to expand on this on this swoopy method for especially for bigger pine trees that you want to look like really full is to do the swoops on the side at the top. But then as you get toward the bottom, you're more you want. Teoh. If you wanted to be, like, really full at the bottom then as opposed to just doing it on the side, it's kind of like you're filling it out so the needles are also facing you, if that makes sense. So like you point the swoops down a little bit, as opposed to dress to the side, and I've found that's a way to make, like big, full pine trees. Look again, just slightly more realistic. So okay, that is the swoopy method. I'm going to do one more tiny one just so you see, Because, like we've been talking about the way to make forests really look riel, as Teoh have them have diverse, uh, styles all in the same piece. So that's just like a really tiny pine tree. And not could be one that's either just a really small baby one or it's in the distance. I have talked another class about how, when you paint smaller things next to larger things, one of two effects happen, sometimes taken. Just look. It's like a tiny pine tree, but especially if you paint it lighter than the other piece, it can look like it's just farther away. So But I painted those using that same swoopy method, So all right, now it is your turn. If you haven't been practicing along with me, grab your tiny round brush and get practicing that method next up, we're going to look at the very last method that I have for you for the trees 5. Painting Pines: The “Blobby” Method: Okay, if you are watching this video and this is the first of the tree videos that you watched note that the first week the 1st 2 we talked about were this method of painting pine trees where you go straight across and lines all the way across the trunks at the same time using very light pressure. The second method, I call the swoopy method where you make little swoops like this on either side and the third method I so professionally like to call the blobby method. I Now look, if you have read anything about me, you know that I didn't go to art school. I am slowly learning the names of different art techniques. I but I love watercolor painting. I've just picked it up in the last couple of years. So if there is a better method for name for this method, I'm all ears. But for now we're calling it the blobby method. So basically, both the straight across line method and the soupy method, it's pretty easy to get to make it look uniform and to make it look kind of riel, right. So the blobby method is going on a different kind of truck, where, instead of making it look kind of symmetrical and even which again you don't really want to do all the time, you want to make them look diverse. And like their riel and a nature, things were chaotic. But for the blobby method, you I would draw the trunks the same way. But essentially, instead of like a nice uniform swoop or nice uniform line, you just kind of take your brush and lob it out. So and I did that blob little bit too big, Which is why I raised the trunk a little bit so that the top is still nice and pointy, and it's just kind of like you're making you're putting for this method. You can use more pressure. Um, you can use pressure more often and still achieve the kind of look that you want. So I'm just kind of making random blobs. And if you think that like and by blobs I mean, like, I'm taking my paintbrush as you can see and I'm pushing down and then just kind of moving it back and forth to back to the trunk. Um, and this method looks really awesome. If you like alternating between putting pressure and not putting pressure and having it still be like somethin lines. So, um, I've seen a lot of artists do it this way. It's definitely a more abstract way to paint a pine tree, but it looks really cool, especially if you do misty forests like what we're talking about in this class. So I dio misty forests using all different kinds of methods. I have used all of these methods of trees before um, so under is gonna That's maybe more like a less maybe like a more full blobby country. You could also dio, I'll do all do an example of like a sparse, blobby pine tree, where it's really just like it doesn't even really have much on it. Just kind of like that, and it doesn't look necessarily as realistic. But that's why it looks really cool with misty forests, right, because the whole trick with painting a misty forest painting is that you can't quite see the pine tree it looks. Using the abstract is a lot more beneficial for these kinds of paintings, and in my mind it's because they evoke more emotion. So I'm going to do one more of these blobby paintings and just again to reiterate, I don't really have a specific technique to get my blobs the way that they are. I just kind of let my hand and my paintbrush do their thing and alternating pressure. That's like probably the biggest tip I can say is it just kind of put pressure down in some places and not in others. And and that's how you can achieve the's blobby pine trees, this blobby pine tree kind of look. So I'll do a little one, because I like showing you how to do little ones and little ones probably just, like, barely even have anything, right? So there you go there, the three different kinds of pine tree styles. I'm sure there are many different a multitude of styles for you to paint pine trees. But these are the three that I use most often, and that I have found to be really fun and kind of an can results in beautiful emotion, evoking paintings. Now, if you are practicing this, these styles and you were just not happy with the way they're turning out, I just I have said it a few times, but to reiterate either. I think you are using the wrong size brush or you are putting too much pressure on it. So most of the pine trees that I've seen are people just like showing me unhappy, showing me their work, unhappy with the result. It's because you're putting too much pressure on it. So that kind of goes back to this Ah example. Over here were with these lines, similar to what I did over here. I barely put any pressure on them. But these ones are bigger strokes. And when you do bigger strokes, it makes the pine trees look just a little more chunky and not quite so realistic. So but if that's what you like, totally up to you and this might not be your problem. But that is the number one thing that I see. So Okay, those are the three styles. Now let's move on. If you haven't been practicing along with me again, be sure to practice thes and it'll be the class will be the next Classes will be so much better for you. Okay, Thanks a lot 6. The Misty Effect: all right. Now that we have learned about the three different styles of pine tree that I use in my watercolor misty forests, I want to focus on probably one of the most important aspects of these paintings, which is the misty effect. How do you get things to look misty and look foggy? How it must be so hard, right? Well, it's not, and I'm gonna tell you the most important ingredient to get the misty effect with watercolor is water. You want to utilize water to make your paint do really cool things. So and then in the next video, we're going to go more into the depth effect. But really, it's utilizing water and utilizing layers. So for this video, we're just talking about the misty effect, and I'm going to show you what I mean. So when you paint a pine tree and you just kind of painted ah, wet on dry, which means the water the paint, the paint is dry, so there are lots of different methods for watercolor. The two most common, I think, are wet on dry and wet on wet. So wet on dry means that the paper is dry and Obviously you're painters wet because otherwise it wouldn't do anything. Right so wet on dry your trees look like this. I'm doing a little bit of a blobby pine tree. If you don't know what I'm talking about. Watch the previous video. That's a blobby pine tree. OK, but with wet on with what On dry. The way to get that misty effect is to paint the pine tree and then get some water and just put it underneath the pine tree and rub it a little bit like that. And you can even get a little bit farther up on the trunk and just spread out the paint like this. Okay, so the thing about when you do this method is your gonna get some lines, some dried paint lines which I actually think can look really cool. So right now, if it looks like this one does, it looks it looks kind of foggy, right? It's almost like this. This tree is sitting on a cloud. Um, but there's not so much color right here, So sometimes I like to put a little bit more color just of the bottom, just like physically add some and then swirl it around like this. OK, so this is the This is the dry, the wet hon dry method and then adding in the misty effect after. So that is one way to make it look kind of misty. This way, though, it's as opposed to like the mist going far into the background. Like I said, it's almost like this tree is either sitting on a cloud or sitting on like a lake. So this I sometimes use this method to make it look like and just to show you an example again, I can draw another tree while this is still wet. I can draw another tree and have a go into the misty part, and it could potentially look like this is a forest of trees sitting on weak. Right? So if you did it farther out like that, I think it could easily look like that. So that is one way to get the misty effect using water, uh, another way to get a misty effect. Using water if you want less defined trees is too use the wet on wet technique. So for that method, you really need to focus on water control. Okay, so I'm using my big, um, Princeton Heritage Round number 12 instead of this is this is much bigger than my other one . Obviously, to just paint a wash of water on this piece of paper, OK? And what we're gonna dio is we're gonna paint a pine tree on this wash of water, but because it's a wash, it's going to be a little bit blurry, okay? And my water has evaporated a little bit, but, um, if you get just enough water so that you don't want so much water that the paint just kind of blobs onto it, you want enough so that it bleeds, but it's still kind of maintains a shape. So this has a little bit more shape than I was anticipating. So I'm going to do another example. Um, just to show you the difference and what I mean, I'm doing a little wash of water, but not so much that it pools, because if it pools, then it doesn't look quite what I want to look. Okay, this is a little bit better. So I am painting a pine tree and because I'm doing wet on wet, which means my paint is wet and my paper is what it kind of juts out, right? It bleeds into the water and, um, the trick the when, When you're looking into a misty forest, like for real, like there's missed in a forest, the mist obscures the tree, right? And that's what we want the water to do. We want the water to, like, obscure what's happening with the tree. And this kind of method is perfect for background trees. So if you use this wet on wet technique, I would use it as my first layer. And we're gonna talk a lot more about that again in the depth effect video. Next. But these kinds of trees would be the first layer. Okay, so one more method to get the misty effect is Teoh as opposed to having, and it kind of goes along with this. But as opposed to a having the wet on wet be a tree, we want the wet on wet method and the wash of method to kind of mimic the mist. So to show you what I mean, I am going to I did that wash of water and I'm just gonna paint. Not like a tree, necessarily. But I'm gonna pain. So this is the bottom of this wash that I have is darker and the top is later, but they're still color in all these things. Okay? And in all these things in this little mini painting that I'm doing right now, and I'm going to dry it real quick, so just be aware there might be some noise, But I'll keep talking. I'm gonna dry it real quick because we're gonna do a little sneak peek into glaring. How wearing can make it look misty. Okay, so dry feels professional. Watercolor papers. It takes longer to dry a little bit longer back, Teoh. Okay, so the reason I dried this is because the way to achieve this misty effect is, um, to utilize layers here and because this is not quite so light and I don't want to put on another layer of that missed. I'm going to make sure that the color that I put on for the tree is lighter. So in this method were using both wet on dry and wet on wet, so wet on what was to get the missed first, right? And now I'm gonna use wet on dry to paint the trees. Okay. And, um, there aren't You can do them along the bottom, but you don't necessarily have to, uh, sometimes misty forests look a lot cooler if you do them more like in the middle. So I'm painting using some really light pain, but it's the same color that was a little bit too much. That's okay. And then similar to what we did over here. I Once I put the wet on dry pine tree down, I, um, take the bottom and push it out with water. And do you see how? Because we have this layer in the background this light layering of color in the background and we're using the same color. You don't necessarily have to do monochrome, but it looks really cool. We're using the same color just a little bit darker on top of it. It kind of obscures the trees so they look like they're in the mist, Um, and using different values of color, which is like diluting, um, diluting the watercolor with water so that you get different shades of the same pigment of the same color is the coolest and best and easiest honestly way to get this kind of misty effect. So next up, we're going to dive into how to make it look both misty and get that depth. We've kind of already touched on on that here. But I'm gonna go more in depth in the next video. So if you weren't doing this along with me, why don't you go ahead and practice the misty effect thes three different kinds. So initially we did wet on dry and then used water to push out the bottom right and make it potentially look like it's on water or they're just missed along the bottom of the trees. Oh, are wet on wet. Where we got the paper went first and then we put trees. We kind of made the shape of trees. And because the paper was wet, they I'm bled out onto the paper and made them obscure like they were and missed or use a lot, utilizing both where we put a layer of fog, if you will on the first layer and then let it dry and then did the wet on dry technique to put some pine trees in front of it. So those were the three different kinds of misty effects that I use most often again, probably multiple, different methods. But these were the three I utilized the most often. I use all three in big paintings that I do so get practicing and let's move along, Teoh the depth effect. 7. The Depth Effect: OK in this video we're going Teoh dio a quick, deep dive. I don't know if those two things contradict each other, but we're going to do a quick, deep dive into how to make your forests look more in depth. So, like you are looking and it's not just this one layer, but it looks like you're looking into a mountain range of forests. And I already mentioned one of the key ingredients, um, and that is utilizing layers in your watercolor, which, honestly, is the most important thing to remember. The most important aspect about landscape watercolor painting in general is to think about paintings in layers, and eso weren't that We're looking at layers to get a depth effect, but we're also looking at the value of your watercolor. So we're looking at different shading techniques. Um, I've been using the same watercolor pigment this during this class, and that is Windsor and Newton professional watercolor in Payne's gray. But you can get lots of different shades, uh, depending on how much water you put in, right? And so the one thing that I want you to remember in terms off achieving the depth effect is the lighter, the shade of tree or the lighter, the shade you used to paint a layer the farther away it's supposed to be Okay, so I'm putting water in my Payne's gray so I can get it really light. So I'm gonna paint. It's not quite as light as I was hoping, but good. A little more water in here. Um, so I'm gonna paint just like a light ish pine tree. Okay? And I'm these pine trees are going to be my background, so they're really light. I wish, and you can get them even lighter. Um, so that sometimes I use even, like, four and five layers. And my watercolor forests, I usually I I use about two or three, but sometimes I do even more than that. And so, my background layer, the paint is, like, barely even there. Okay, so and we're using this. If you remember what it's called, I'll give you a minute to remember the type of paint method where the paper is dry. Yeah, it is wet on dry where the paint is wet with the papers dry. Using that method, summer's gonna paint. I've just painted a little forest back here Okay, so these are background trees, that is our first layer. And in order to make the painting really like this, this little strip of trees really look deep. We have to make sure this is all the way dry. First is the first layer. So I'm going to drive this just really quick. It shouldn't take too long. Probably already dry. And then I'm just gonna go ahead and paint over these trees for my second lier using a little bit darker paint. So I'm gonna add just a little bit more pigment into my paint and let's see what happens. No, I feel like this should be obvious. But in order to achieve the depth effect, you don't want to paint like the same trees, right? They're supposed to be different trees, so you should definitely alternate using this darker, slightly darker pigment for this example, I'm going to use I'm gonna do three layers, so this is not as dark as it's going to be, but it is slightly darker, and you don't have to put the trees so that they fill in every gaffe and you don't have to have the same amount of trees on each layer I Sometimes I think having it be different and having them having the trees look different makes the forest look slightly more riel. And I've said that before, diversity in nature and not, um, uniformity is really what makes it look the most riel, in my opinion. So But it's totally up to you if you want to paint a forest, uh, has uniformity that's up to you. That one was a little bit darker, so I'm just gonna dry this layer really quick. That's 13 might be a little harder than it looks, Theo. Usually darker paint for that might be the beginning of our next layer. So Okay, that looks pretty dry. Um, so we have three layers so far, right? I mean, two layers, we have this faded in the background and then some lighter tree, some slightly darker trees up top. And then for the last layer, I'm gonna make my pigment pretty diluted. It doesn't mean not diluted, pretty concentrated. It doesn't have to be the most concentrated, but I'm gonna make it pretty concentrated because having this contrast is really what makes the depth effect happen. And you can dio the trees all the way across if you want, or you can just have a few of them be concentrated up here. T may be like show that the forest is coming to a point kind of up to you. So and again, Do you see how I'm kind of using a mix of the blob effect and the stand, the street across lines effect for these trees? Um, I'm gonna do a little bit more out here, but leave a space so it's not quite so uniform. And then maybe just one right here. I honestly what? Usually when I do these paintings, I'm sure some people, like, plan them out. But I just I kind of paint my trees where I feel like they should go at the time. And, um, they don't always turn out the way that I want, but that's usually what I do. So this wet on dry using layers effect is one way Teoh achieve the depth effect to get what you want and just to kind of hit this home, combining the misty effect with the depth effect if you use, um, these methods with the depth effect. So like, for example, I'm gonna go up here to this misty effect tree if we did this wet on wecht, this wet on wet method to get this kind of misty tree And then you used dry on wet again to paint over the tree and, um, with darker tones. So you want your pigment to be darker. I'm just painting some trees and we're gonna That was a little bit more blobby. See, even when you have the smaller paintbrush, If you put too much water on it, you won't get the fine points that you want. So you should be aware of that. Um So I'm just painting wet on dry trees in front of this big misty tree that we had and and it kind of unto me I looks It looks like the beginnings of a misty forest. Right? It looks like the front trees are more defined and the back trees are kind of obscured. Um, and you can leave these lines or you can do what we did over here and spread them out. So it all looks like it's a little misty like the like. The the foreground is not quite so concrete. So the depth effect the most important things are I'm gonna give you a second to see if you can remember. And then I'll tell you the most important things are to utilize different values of watercolor. So we use a lighter shade and then we add a little more pregnant to get a slightly darker shade. That one's a lot darker, but I'm gonna use water to show you. And then we get a really concentrated shade, depending on how many layers you want, the darker you can get. And then I just said the most. The next most important thing is to utilize layers. So you want to visualize When you look in a misty forest, you visualize what goes in what layer and what makes the most sense. So lighter is the first layer, and then you get progressively darker as you go on. So that is the depth effect. And then later in the class, probably next, I think, is we're gonna go step by step through how to paint a misty forest painting. Okay, we have learned all of the methods. I have shown you the tools, and now we're going to get going so you can create your own masterpiece, So practice the misty effect and the depth effect. Practice getting these these ranges on your pigment and let's get started. Let's see if we can create our, ah misty forest. 8. Final Project: Layer One: all right, we have learned all of the techniques or the ones that I use the most to create a misty forest. And now we're going to use those techniques to create our very own misty forest peace. And in case you couldn't tell by the size and shape of my paper here, which is arches, professional watercolor paper, we're going to create a misty forest bookmark. And we're going to utilize the layering and depth and misty techniques that we've used, and I'm going to demonstrate the difference. I'm going to use all the different kinds of tree forming methods that we've used in the past as well. So this is layer one. And if you want to make a bookmark with me, this is what the class project is. Go ahead and get a piece of paper that cut it into look like a bookmark. The reason I did this is because I usually buy my arches, paper and giant sheets on, and this was coming off of the end of one and looked like, ah, perfect use for and otherwise kind of scrap like paper. So grab your supplies unless get started with layer one first. I'm going to use for my first layer like we talked about with the misty effect for the bottom. I'm going to utilize creating the mist with some lighter tones. And I am going to use my big number, round number 12 paintbrush and put a wash of water along the bottom here. Okay? And you see, I haven't taped this down. You can tape it down if that makes you feel more comfortable. Um, if you don't tape it down, it requires a lot more like holding onto the paper. But that's how I'm gonna do it this time. So I've put down a wash of water here, and, um and I've kind of angled it. So it's kind of like there's ah, Hill or a mountain right here, okay? And then I'm going to get some of my amusing Payne's gray Windsor and Newton professional watercolor Payne's gray. And I'm not painting my trees for this layer or this part of the layer. I probably will up there, but I am just putting down and maybe actually, I I won't put it down right there for this layer. I am doing my initial missed. Okay? And remember the trick with this is understood to make this the whole sky. The trick with drawing or painting the mist is that accumulates more of the bottom. Okay? And we're gonna use this method more as the layers go on. But for now, I'm having the bottom now that I've gotten a kind of light. So while it's still wet, I'm gonna make this bottom look really pigmented, but not necessarily uniforms. So it's not like here's a square that's pigmented. I want it to look still kind of randomized. So you're not really sure what's happening? Okay? Because sometimes I think that's what happens in nature. Right? Is that's why it's so beautiful is you're not really sure how something came to be so And then at the top, we don't want it to still be white. We want it to be this really, really light shade of whatever pigment we have at the top. Okay, so this is our first layer. And if you're wondering where I'm going with this, just keep on keeping on with me. We're gonna make something really cool. Okay, Layer one. Now I'm going to do the drying in between the A video so that you don't have to see it. But just know that when I do these paintings, I don't usually wait for this to dry on its own. I use this Therese in bossing tool. It's kind of like it's used. It's a heat tool used for in bossing, but it it blows out really hot air so that it drives thes things. But it's really loud. So, um, that is it for layer one, let's move on to layer to 9. Final Project: Layer Two: Okay, Welcome to lay or two of our misty mountain bookmark where we are painting a misty mountain seen on t to make a nice, beautiful bookmark for ourselves. So with layer one, we put down the first layer of mist, right? Using the wet on wet technique. Now I'm going to start building the different layers like this is a mountainside, and I am going to use um yeah, I'm going to use both the wet on wet technique and wet on dry techniques. So up here we have this kind of sky going on, but I want to create the first side of our little mountain. Okay, So in order to do these kinds of paintings and especially misty forest paintings like I talked about, it's utilizing layers. Right. So this wash is going Teoh represent this first layer of the mountainside that I have right here, and I'm going Teoh, you paint some really light trees, so if you want to go ahead, if you're doing exactly the thing I'm doing, then I just put a wash of water at the top of this bookmark, uh, at an angle, OK, and I'm gonna make some really light trees to go on top of the wash. All right, so just some really light trees to go on top of the wash and some really small trees. And I'm mostly using right for these trees I'm using, like, the straight across method. Right? So these are these trees are, like, far away in the distance. You can see the wash of water underneath makes him look a little misty like we've been doing. And I'm gonna push out some of the misty nous, so it's not quite so concentrated exactly right there. But the trick with these, like grand misty forest paintings, is again to not make it look quite so uniform. And to use layers. So I like to have these washes of water jet out from the side and not necessarily go all the way to the other side. Okay, so that is our first layer, and I'm going to dry it really quickly. I know. I said I probably wasn't going to, but this is our first fire first layer. I mean, I'm going. I'm going to do this all the way down. Okay, So I'm gonna put a wash of water, like right here and this might still be a little wet, which is fine, because we're just doing initial layers right now. Right? And when we do wet on wet trees and get those blurry looking trees, those look pretty good, too. So we'll just have to see, Yeah, it's a little bit wet, but that's OK, because this is the bottom layer. We're gonna paint more trees on top of all of these layers. So if you do that, if you do what I did and have this wash of water still be a little bit wet while you paint the next trees down here, Well, you still want them to be kind of white. Then you get that really cool background of just like some blurry trees in the background, and we're gonna paint over these in the next layer. But for right now, some of them just look kind of blobby and blurry, and I think that's gonna look really cool. So okay, the end result of this bookmark is the cover photo for this class. So if you haven't looked at the cover photo and you're just like, what is gonna happen with this, um and you want to go and take a look What the end result is gonna be. You go ahead and do that. But if you weren't up for a surprise, then Dad is cool too. So Okay, so we are going to dio one last for this layer. We're going to do one last, um, like, wet on dry slash, wet on wet layer of this mountain. I have said before that I often think art is more pleasing when it comes in odd numbers. And so, for the big main layering, I'm going to do just three hills like this. Okay, so we're doing the same thing that we did up there up on these two. Um, where I have I put a wash down where there was already paint, and now I'm just sent in. Since this since the bottom layer is closer to us, it's supposed to be closer to us. These trees are a little bit bigger. OK, I'm still trying to make them not quite as diluted auras, pigmented. So I mean, not quite is concentrated, so I've diluted them with water a lot. But I'm just going down the line with this angled wash of water that I made and, um, the trees don't know it again. Having a Nazi uniform and having them not be all the same size. So it's just like, Oh, it's all going down is what makes it look more real to me. But we're still gonna paint over these in an upcoming layer. So this is still just layer to our first layer of trees, right? So that one was a little more pigmented than I wanted in. The water has kind of gone away, so I am making my own water. Sometimes that happens. The wash dries before you can get there, and that's okay. This is a kind of abstract ish wonder, like painting anyway, So you could just add more water. And if there are dry lines, that is totally fine. So okay, sometimes I like to add paintings in between. I mean trees in between. Okay, that is layer to ah, let's let's move on to lay or three. So I'm going to drive this part with my dryer a little bit, Um, but I'm not gonna do it on this video, So if you're doing this along with me, I'm excited to move on. Still a or three, it's starting to shape into something really cool 10. Final Project: Layer Three: okay, if you have been working along with me, we did our first layer already, which was, like just a wash of water with some pigment down here. And then we did our second layer, which was the background, the background trees of our misty forest. And now we're working on the third layer. If you'll notice. My paper is a little worked. I often get questions of, like, how do you not work your paper on their multiple methods? But honestly, unless you stretch your paper out first or you buy really sick watercolor paper, it's gonna warp. So that's kind of just the way that it is. And I can I still kind of like it. If you make pieces that go in frames that solves that problem, we'll probably laminate this, and that might help, but Okay, so for our third layer, we want to put some more some darker trees on top of here. Now, just looking at how this one has turned out. The bottom section is already a lot darker than this top hilly section. Right? So, up here, I might want to put a couple more layers than down here. Um, So what see where we're gonna go with that. I'm kind of going to do No, I'm not gonna do that. I am going. Teoh, you have now discovered my secret that usually when I paint, I don't always have a plan. I just kind of we'll get what has happened and then do what I want. So I, instead of doing another wash of water down here because that might mess up these trees over here. I'm going to do some wet on dry and have it be a little bit darker. I might me do a little bit lighter than that. We still want to be able to see the trees behind it, because otherwise, like, what's the point of painting them, right? So I'm painting some tiny trees that are a little bit darker. Then they were up here, and that creates adept effect up here on this very top level of our hillside. Right? So I'm also going to utilize that technique that we talked about of using my brush to kind of push out the wet paint. And how would be a little more misty? And it's okay if you get some dry lines. The way to minimize that is toe, have the paint. I'm gonna put a little bit more misty effect up here, which is something that I talked about in the past. Like sometimes when you do this, you have tow manually, add your own paint. But the way to minimize the dry lines is if you just get gradually lighter on the way that I do that is I start at the bottom with clean water where there's not paint already. And then I kind of go up to meet where the paint is. Okay, so that is the first hilltop. Now we're gonna move on to the next hilltop and do the same thing. Um, and this time I'm going to use more blobby trees. I've been using straight across trees mostly, Um, and like I talked about before, these are like blurry trees, so I might wanna have to be a little bit lighter than I have it here. But you don't want to cover up all of the trees because otherwise, like, why did you do that? You can cover up most of them or some of them. But if you cover up all of them, then I got a little bit too much water on there. Then what's the point of drawing those blurry trees? Because you can't see them. So I'm doing some lobby trees, and then as I'm going along before the paint dries completely, I want to just push some water underneath it so that you can see some of that misty nous going on. And I'm not necessarily doing it all the way across. And actually, I might do another layer on this specific hilltop. I think I'm done layering on that one, But on this one, I might do another layer. Oh, now that I have pushed some water out, we already have. So I'm going on there. Don't mind my muttering Watch what I'm doing. And I will keep kind of explaining I didn't do a blobby tree there. I did kind of, Ah, straight across one. But do you see how this tree right here is really light and kind of like they're blurry in the background and then with the more defying trees out front, you have that depth effect that we were talking about. Okay, So as I'm looking at this, I think I might add a few little um tree islands, if you will, a couple so that I have five main subjects, not only for so I'm gonna add a wash of water down here while I'm still on this layer. I'm not gonna do work on this bottom part for this layer. I'm going to say that for our next layer, which will probably be the last. But I'm going to do just a couple trees using this. Went on Dry slash wet on wet technique. Okay, because I think having a few just kind of leg out in the middle and not connected to aside sometimes looks really cool. So, like how all of the other islands I have here are connected to, like a side of the hill. Tough having some some. Just like floating in the middle, I think looks really cool. So this is still on layer three. I just added, Actually, my make that one a little bigger. I I'm just adding a few more little tree islands. All right, in the middle here, using this blobby tree technique. Right? So you can go ahead and do that too, if you so desire. If you liked how it looked before, Totally fine But if you want to copy exactly what I'm doing, so that we're working on the same project together, that's great, too. So okay. And doesn't have to be like, Oh, it's all the wine. No, minus kind of more. It's just not super uniformed. Okay, so that is layer three now onto layer four. Stay with me. Folks were almost done. 11. Final Project: Last Layer: Okay, We are almost done with our misty forest bookmark. And we have done layers 12 and three. And now I'm gonna call later for our last our last layer. You can have as many layers as you want. Sometimes I do three or four or five it conjures Depends on how you feel and how many times you need to dry in between. Right, So But we're gonna call layer for our last layer. And to start, I'm gonna put in a last layer of trees right up here. So I'm going to make this layer not quite as dark as they're gonna be down here, but still dark enough so that their darker then the trees that are already up there and I'm not necessarily going to do it all the way across. I'm doing the blobby method like I did before. Have I have kind of alternated between doing the blobby method and doing the straight across method for this piece. And I'm not sure if I'm gonna utilize the swoopy method or not. Maybe down there, but for now, I'm kind of digging the blobby. So I am painting these trees and in just a second, I'm going to do what we have done before and put a wash of water underneath it to ensure it's misty nous. So I grab some water. I'm gonna go underneath here. It looks like these have dried. So, um, it doesn't, like, automatically bleed out. So I have toe manually, do some work here, and I might just have toe, uh, some of my own paint down here. Things that make it misty is when, like, a lot of the color is accumulated in one place, right? So, like, it looks misty at the bottom of those trees, and here I have kind of a blob of water that I don't want, so I'm gonna mop it up with a Q tip. Awesome. Okay. And the great thing about when used professional watercolor is, as you can see, my paint lines have kind of stopped Have I mean, are starting to dry down here, and I don't really want that. So I'm just gonna go ahead and lightly paint with water. Not too much water, but lightly paint with water. So this judge down over these trees and the good thing about professional watercolor is I It holds a lot easier when it's dry, as opposed to student grades. So you see how even life of water over here over top of this layer it This tree held its shape pretty well. Okay, so But now I know that this kind of has water on it. So I know that if I start painting the next layer of this little island, then it's gonna be a little bit blurry, so I'm gonna we want to this one first. But let's marvel up the work that we've done here. So in the background you can see some blurry trees and then some more, some defined but lighter trees. And then this darker pigmented line of trees and there it looks like a pretty deep forest to me. So next I'm gonna just do one last layer of this little island doing that same method. So I have some, and maybe I'll show you just swoopy trees right here. We can do lots of different kinds because I said that we would do both. I mean, all three. So I'm doing I did one swoopy tree right there. I'm going to kind of do ah, mix of a blob and swoopy tree right here and put a little tree in right there and put some water down on here. Yeah, that looks good to me. So really quickly. Just to make sure this is dry enough, I'm just gonna put my dryer on it. So I don't want to populate this one too much, so I might just do, like, one or two small trees. Because if you populate some flake all of these things too much, then it's it's a lot. And I think that when you have again diversity and a difference in numbers and you don't always have, like, trees aren't always completely full force aren't always completely full. Right. So, um, I'm just gonna put too like that on this little island and use my brush to make it missed out exactly like that. Okay, Now, the last part of our layer I am going to Mm. Yeah, I am going to instead of putting a wash of water down here. So we're gonna focus on this area right here, and we're gonna paint some trees. Not necessarily on this tree line, but, like in the middle of this hill. Okay, So instead of doing a big wash of water. I'm taking pigment. I want this to be darker, so I'm taking some pigment and I'm just painting right on it with the paint first, Okay? And then I'm gonna take my wash of water and move the pigment out like that. All right? Okay. So Oh, there's a little bit too much water right there. I don't want to get too much of the pigment. Okay, so that is now my wash of water that I'm going to utilize to make these thes trees. I'm gonna paint right now, Misty. So I'm going to paint a tree right there. But instead of having it go with this layer in the background, it's gonna be it's planted right there. And I think this looks really cool. I mean, like I said, there's really I don't if you're looking for a specific like, here is the pattern that you need to use to make misty forest good every time. I don't have that. What I have is a basic knowledge of how forests are laid out because I grew up in Utah, where there are a lot of mountains and a lot of trees. And what I know is there's really no a whole lot of pattern Teoh to it. I mean, sometimes there is, but mostly trees just kind of are where they are. So with this last layer, we're going to I'm not gonna make it go all the way across. I'm just gonna have a few trees, and I'm probably gonna have this would be the biggest one. Um, I just kind of look to see where there are openings in the painting and where it might be good to have a subject there filling some white space, and I just go for it and some. And this kind of painting really is super experimental and not experimental in the way that , like nobody has done it because a lot of people do paintings this way. But you need to experiment to figure out what is the best method for you and what method you like the very most. Okay, so there's no like secret. I always kind of see that art. There's really no secret to making it look perfect. The secret is practicing and trying things out and figuring out what you like the best. And I thought that I might do some more trees on this layer. But I am done. I really like the way that that looks. And there you go. So the next up that I would do is is dry this last thing. But if you have done this along with me, you have completed your misty forest bookmark, and these same techniques you can use in any kind of painting doesn't have to be a bookmark . It can be bigger or smaller. I do many misty forest paintings a lot. I really like those, Um, but we have combined all of our techniques to make this really cool abstract, misty forest painting, and I hope you loved it. And I hope that you can use these tools and thes methods and experiment on your own and figure out your own methods and figure out what works best for you and put your own tweak. Um, on this method of kind of abstract landscape painting, I had so much fun doing this with you and happy painting. Make sure to tag me if you post it on instagram. My handle is as of this writing desk, and make sure to post your final projects on the discussion board. I would love to see them. I would love to give you awesome love on on the hard work that you're doing. And I'd love to feature you on my own platform. So thank you for listening. It was a pleasure to paint with you and see you next time.