Watercolor Mountain Top | Kolbie Blume | Skillshare

Watercolor Mountain Top

Kolbie Blume, Artist

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12 Lessons (1h 36m)
    • 1. Intro

      1:28
    • 2. Materials

      5:24
    • 3. Techniques, Part One

      5:16
    • 4. Techniques, Part Two

      12:23
    • 5. Practice: Mountains

      16:23
    • 6. Practice: Other Stuff

      8:48
    • 7. Final Project, Part One

      6:37
    • 8. Final Project, Part Two

      4:20
    • 9. Final Project, Part Three

      8:10
    • 10. Final Project, Part Four

      11:25
    • 11. Final Project, Part Five

      13:51
    • 12. Recap

      2:20

About This Class

Learn to paint majestic watercolor mountain tops with me! Loose watercolor is all about leaning into imperfection, and using tried and true techniques suitable for any level, we’ll go through the steps to capturing the spirit of wild mountain peaks. 

Transcripts

1. Intro: Hi, My name is Colby, and I'm so excited for you to join me in this class where we learn all about painting loose , snowy mountain tops. I was so intimidated when I first started painting wilderness watercolor scenes by mountains because there are so many crags and shadows and how I just couldn't imagine how I could possibly be patient enough or learn enough. Teoh really get them right. And one of the things that was really empowering when I was learning and teaching myself art was the idea that I don't have to get it right. I can do my best and learn some tricks and techniques to make my eyes look like I'm getting all of these really complicated designs. Right when in fact, I am just messing around and having fun. And that's exactly the technique that I'm going to teach you in this class today. This is a beginner's course. If you have taken any wilderness classes of my wilderness classes before, this will build off of that. But if you never have, then you can start from square one and learn the basic techniques and how to paint stunning mountain scenes just like this one. This is our final project. And if it sounds like fun for you, Teoh, learn how to paint something like this. Then I would love for you to keep watching. 2. Materials: So before we can get started, painting will need to gather all of the materials necessary for this class. And I am going to do a brief rundown of the materials that I'm using as a disclaimer. You don't necessarily have to use the exact materials I'm using. Obviously, you can create beautiful things with whatever you have on hand, but for reference, this is we'll be using today. So let's start with paint. I am using Daniel Smith extra fine watercolors today and a bunch of the pains in my palette . I have gone from these tubes and then dried in here, Um, but specifically the colors I'm using in to Go and Prussian green and this fallow blue and then new gambles the fellow blue and new gambles we're gonna be going to use for the sky and then to go Impression green I will use to create the mountains and the trees, and all you see is for practice as well. So that is the paint I'm using. And next, let's talk about brushes. So I'm gonna be using round paintbrushes in size 10 and then 10 is probably the most important tennis one of the most common size brushes that I use because I think it's a good size for big washes, but especially if you get professional brushes, which actually aren't that much more expensive when you get this synthetic kind, then student grade paintbrushes. Um, the size 10 should go to a nice point. And so you can get really detailed work, um, and big washes with a 10. So I always like using a size 10 and then I'm just I have some other smaller sizes. For one, we paint the crags and shadows along the mountains s so I have this size zero. This is Princeton brand, the Neptune Siri's and then a size four. So this brushes Princeton thes brushes air from a small business, Um, they of the small business Wonder Forest. And so these are some brushes that she I remember. Her name is but her. Brown does Wonder Forest, and she just sells them on her site, and I really like them. So those are the paintbrushes I'll be using and then paper. For the practice sessions, I will be using student grade paper. It's cancer in excel. Pretty common brand to you can get these pads of nine by 12 inches. 30 sheets for usually like 5 to $7 on Amazon or Walmart or lots of other places. Um, even though what student grade, though I always use £140 wait paper, which means that when there's a ream of this paper ornery HMAS 500 sheets, it weighs £140. So that's the weight of the paper. Always use. And then, for the final project, I'll be using this Blick premier watercolor block where it's professional grade paper. So it's 100% cotton and it's glued on all four sides. And I like to buy these blocks because it keeps the paper taught and you can paint right on the block, and then you just cut it out from this area right here. So but if you don't have a watercolor block to use and you want to keep your paper tops, you can always get painter's tape or masking tape. I always have someone hand just in case, and then just tape down all four sides of your paper, and keeping your paper taught will help it to, um, not toe warp. So much so that is why I use a water color block, but again. Ah, £140. So when I do watercolor, I always use at least £140 weight in paper. So professional grade paper for the final project student grade paper for the practice. And then I always like to have some Q tips on hand in case I used too much water. I have two cups of water over here that you can't see. I always paint with two cups so that I can keep one clean. And having clean water is going to be especially important for this class because we're gonna be utilizing whitespace in color value. And then I have a paper towel off to the side where I wipe my brush off in between. And then this is just a little ceramic mixing palette that I like to use, Um, in addition to my as you can see my colorful pallet over here just because if I want a color to remain like undiluted as I mix and these hearings, mixing pallets makes a really nicely thes plastic one. Sometimes you have to wear in a little bit or sanded down toe, not bead but ceramic or porcelain, it's one of ceramic will mix really nicely, so that sums it up for the materials that were going to be using for this snowy peak class . And so gather up what you're going to be using and let's move on to the next video. 3. Techniques, Part One: Now that we have all of our materials, let's go over some of the most basic techniques. This is going to be a pretty short ish video because this basic techniques instruction is something that I given most of my classes. But if you are brand new to watercolor than the, these are techniques that are very necessary and important for you to know. So basically, I'm going to go over the wet on wet technique and the wet on dry technique, so the wet on dry technique will start with. First is probably the way that you have painted if you never painted professionally or like as a hobby before. But you remember in elementary school, that's probably what the wet on dry technique I mean, you are probably using the word on tri tech. Basically, it means painting on dry paper, so watercolor, because it's activated with water, is always wet when you paint with it. Um, so that's the first wet part of the wet on dry technique. The watercolors wet and the paper is dry, and the characteristics of the wet on dry technique, um, are like really smooth, always smooth but defined lines. And that's because watercolor wants to go wherever it's wet because it's activated by water . One of the characteristic traits of watercolor is that it wants to move wherever it's wet. So if if the paper that your painting on is dry, that means the only place that it's wet is wherever your paintbrush goes right, because the water color is the only thing that has water with it. And so you with your paintbrush are creating the pathways basically for the watercolor to travel, and it's going to stay within the confines of your paint stroke. Um, as opposed to the wet on wet technique, which is the second of the two basic techniques were talking about, which is what happens when you paint on well, a wet surface. So watercolors always went right. But if you get the paper wet also, because we know that watercolor wants to move wherever it's wet, then if the paper is wet, that means the watercolor is going to move outside the guidelines set by your paintbrush, and usually that means it's going to bloom outward to wherever there's water on your paper so you can paint with the wet on wet technique. Using either paint or water like if you want. This is kind of blue ish bluish water I have right here. But, um, if you want to paint with if you want to start your base with paint like I did over here than you can create, just like different color blends on your paper. Or you can start with clean water and ah, watches the color kind of blooms outward. And then when it dries, it'll be dry in this like cloudy kind of way, as opposed to really harsh line. So you used the wet on wet technique to, ah, soft soften edges and to create smooth blends. And those are some of the hallmarks of the what on what technique? I like to use the word on what technique when I'm painting skies especially. And, um, a lot of I use it a lot in other wilderness landscapes, um, wilderness paintings that I dio but for this class kind of different from my other classes , more important than the wood on wet technique is the wet on dry technique, because to create the shadows and crags and to emphasize the snow on top of our snowy peak that we're going to create later on in this class. The what on dry technique is crucial, and we're going to talk about that more specific, ah to watercolor characteristics of the wet on dry technique in the next video. So for now, just, um, note that the wet on dry technique is when you paint on completely dry paper and that it basically just says the pain will go wherever your paint brush tells it to go. Okay, and then the wet on wet technique is when you paint on wet paper and the paint goes wherever there's water, because that's what watercolor paints always does. Okay, so you can go ahead and practice those techniques and or move on to the next video, where we're going to do an extension of the wet on dry technique and talk about some other important watercolor techniques for this class. So see you soon 4. Techniques, Part Two: So we've gone over the wet on wet and the wet on dry techniques, and now let's dive just a little deeper into the wet on dry technique and how we're going to use it today. So this video is mostly going to be, um, like a deep dive into two specific aspects off the wet on dry technique that I like to like . I guess sub techniques is what I would probably call these cause. They fit under the wet on dry technique, and then in the practice videos, we will put these into action when we learn how to paint our snowy, craggy mountain peaks. So first, let's talk about glazing. Glazing is, um, trait very specific to watercolor because water color is transparent, right? So like it's not completely transparent and that it's 100% see through. But watercolor is not opaque, like when you paint with acrylic or with oil. This is the practice sheet that we used in the in the previous video, and because water color is transparent, it means that you can see when you paint in layers. You can see usually the layer underneath of what you're painting. So if I'm painting on top of these dry, um, little marks that I made. If you look closely and I'll bring this up so that you can see if you look closely, you can still see the straight mark that I made underneath that layer of paint. And that's because of the transparency of water. Color Glazing is when you utilize watercolors, transparency and the wet on dry techniques to your advantage. So when you are using a layer, Teoh like modified the color underneath by using the layer underneath to slightly change the color you're using, that's glazing. Or when you use ah, wash of water color on top of another one to contrast or change that layer. That's glazing and the important really the important trades to remember is that glazing happens when you use the wet on dry technique in two separate layers. Okay, so one layer is wet on dry. Honestly, you don't even the first layer doesn't even need to be wet on dry really just means you're painting, using the wet on dry technique on top of an already painted layer. So ah, glazing is going to be really important as we paint the shadows and the crags on our mountain. And so I'm just going to demonstrate I'm gonna paint a circle here. It's one of my favorite ways to demonstrate glazing, and I'm going to edit out where I dry it so that you don't have to hear my dryer. But for a reference, if you have watched my instagram videos and wonder how I dry things so fast, I have a hand dryer on em bossing heat tool that I most often use to dry things So I don't have to wait around for things to drive. But so I'm gonna go ahead and dry the circles, or so I can demonstrate glazing a little bit more clearly to you. Okay, so I have this dry circle, and now glazing is what it's called when I take another color, say, yellow and I paint right on top of that circle, and I'm painting right on top of that circle, knowing that because especially because I'm using professional, pigment based watercolor that the bottom layer is going to set, it's not going to reactivate, and I'm painting for the purpose of blending yellow and blue together so that this middle portion right here is green because of watercolors transparency. I can use the layers underneath this top layer to my advantage and use it in my painting without having to manipulate every single layer exactly the way that I want to. So in that way, especially for watercolor layers in your paintings, really aren't separate you if you're going to use watercolor to the fullest extent of its abilities, and you want to use the layers underneath to help you form whatever it is that you are painting. So for glazing, Um, that's that's what glazing is. It's using wet on dry layers on top of other layers. Teoh best utilize all the layers you have together, and what that means for our mountains is instead of painting snow, we're going to utilize the white space, and we're going to utilize the layers underneath to, like, paint the shadows around the snow so that it looks like we have a snowy mountain peak, and I'm that we're gonna talk more in depth about that once we get to the practice round of the mountains. But for now, just keep keep that in mind. Glazing is an important technique for when you want to use the layers underneath that you've already painted to help form wherever it is you're trying to paint. Okay, so let's now move on to mark making Mark Making in art specifically is when you basically make marks or, you know, paint swatches or blobs. Um, but for the purpose of our class, marks are going to be not shapeless, but like random randomized shapes that don't really have a specific composition or a specific end goal necessarily in mind. So but one characteristic of Mark making an art is that they do have expression. So it's like using you're a paintbrush and movements in your hand to make these marks have character and have artistic expression without having to form Ah, very specific subject. If that makes sense, um, I kind of have commandeered the term mark making for what I'm for my purposes for this class, because I think it it matches really nicely for when you need to make shadows on the mountain. I think one of the most intimidating parts of painting mountains to me was knowing where to place the shadows and feeling like I was never going to be detail oriented enough to place the shadows exactly where they needed to go. And one thing that really set me free from this Ah fear from that mindset was the idea that I don't need to know where the shadows air supposed to go. They don't there aren't supposed to go anywhere. I'm not. And I think that plays into my style of water color, which is loose watercolor, right? I'm not in it to paint super like photo riel, photo realistic landscapes in my mind. That's what cameras air for high. But I mean, I love I have so much respect for the fine artists who do paint those uber realistic paintings with watercolor. That's just not really my style. So I commandeered this term mark making, which is making paint strokes with expression, but that don't have, you know, a particular composition, um, or particular end goal in mind unnecessarily to help me understand how to paint shadows on a mountain, Um, and when I think about painting shadows instead of thinking about painting like specifically where shadow would go if I just think about the characteristics of a shadow, meaning I'm using like a light color value color shade, and I'm just painting marks all around the mountain. That really helped me understand how to capture the essence of the shadows and crags on a mountain. Because, honestly, it's not like somebody went to a mountain and specifically carved out in very intentional ways where those crocs would be right. No erosion and natural, the natural way of things have caused mountains to be formed the way that they are. And like I've said so many times, nature is wild. Nature is crazy and random and chaotic. And so when you're making marks when you're making shadows and crowds on mountains, it should be just is crazy and wild and chaotic as the mountains are in real life. And so that means instead of like, spending hours gent like gently placing marks on mountains where they're supposed to go, I basically just make marks using varying amounts of pressure like what I'm doing right now and I go down the side of the mountain like that, and we're gonna go in deeper like I'm gonna end the mountain practice video. I'm going to show you specifically how I do it on the mountain formation. But before we do that, before you do that I think it would be really beneficial for you to just take out a piece of paper and practice making marks practice, Mark making on your paper so that you can feel comfortable Just kind of moving around your paintbrush and notice how, as I'm painting this I'm not. I'm like my paintbrushes kind of in jerky motions sometimes and smooth motions. Other times, I'm using varying amounts of pressure. Um, and I'm just kind of making these squiggles, right? Just these marks on my paper and without any rhyme or reason in particular. On that is a good warm up to get out a piece of paper. And you can do it with colors to to kind of blend colors together right on the paper. Um, but that is a good warm up for as we practise painting the crags on this mountain because it can be a little jarring if you've never done it before or you can get a little self conscious. I know that I did the first few times I did. It was feeling a little silly. Maybe, but you should not feel silly, and it's definitely not cheating. I think that was also something I struggled with, like while doesn't making isn't making renda marks kind of cheating. And the answer is there is no such thing. Is cheating and art. If you want to paint the way that you want to paint, you should do that. And you should always find ways that work for you so that you can create something that you're proud of And that felt precisely you. And that's what happened when I put the term mark making together with painting shadows and crags on mountains. So, um, that is all I have to say on that subject. And that about sums up this deep dive into these wet on dry techniques that we're going to use for our mountains. So glazing and mark making practice those two before we move on to the next or, you know, just ruminate and think about them if you aren't practicing with me. But you're just watching this class. Um, but these are gonna be really important to just, like, have in your mind and solidify these techniques as we learn to paint this mountain. So see you in the next video 5. Practice: Mountains: learning to paint landscapes and landscape subjects like mountains. It can be really helpful to look at reference photos, and so Pinterest is often a good resource for this. I also like to use the website on Splash, so this is their app. On Splash is a community based collection of stock photos where photographers upload their photos and you can use them for free. So on Splash is a safe place to look for reference photos because photographers are basically giving you their photos to use us to use for free for business reasons or personal reasons or whatever. So on splashes, probably a safer place to go, then Pinterest. Because a lot of people I'm definitely an advocate for using Pinterest to gain inspiration and look around. But if you wanting to, especially if you want to sell a painting and you want to use a reference photo, Teoh like you want to paint a reference photo exactly once Washes is better than Pinterest because you don't have to worry about any of the licensing rights, whereas on Pinterest, probably most of those photos are copyrighted. So just something to think about anyway. So when I like Teoh especially when im first starting out and trying to paint something new . I like to find a good reference photo. And so we're going to find one today to demonstrate just to help illustrate the things we're going to be learning. And then, ah, we're going to use that reference photo to actually paint our final project. So, first of all, what I mean by like snowy peaks obviously is a mountain top. That's kind of craggy and rocky like this that has these mounds of snow. And so, using the mark making and glazing techniques we practiced, we're going to create this kind of textured, craggy effect, right? And But what I talked about before in the previous video and earlier in this video is instead of using white paint to paint snow or to paint the lighter parts, we're going to use glazing and the transparency of water tow. Either help the white of the paper come through or the lighter colors were going to use, come through and then use mark making with darker colors. Tartar color values to like paint around the light spaces. So there are several different mountains here. The I would want to give a go. I think that I for a final project. I also wanted to use some trees toe like frame the mountains So this kind of composition could be good. Um, but this this mountain is also a good example of like the top or the summit of a mountain is very snowy, with just a few ah little rocks coming through. And those little rocks is where we would leave most of the top of the mountain like white or light color, and then use a darker color to paint just a few little marks up here. And then the marks get bigger the further down the mountain you go. Okay, so that's kind of basically a an aural instruction on how we're going to use Mark making in the wet on dry technique. But and now I will show you exactly what I mean. So let's start with just a mountain layer and because we want it to be snowy, the mountain layer should either be white. So you would start with the pencil drawing outline or a very, very light layer. And for our purposes, I'm just gonna do a very, very light layer. We're not talking about color, value much and color theory much in this class. But Teoh turn to make your watercolors lighter. You need to add water. So basically, you're using mostly water with a little bit of pigment to get that really, really light layer. And because watercolor strands parents transparent right on the water makes it so mostly the paper shows through. So I'm going to use my number 10 brush and just kind of I'm just kind of like moving my brush, Not in a particular way, but I'm making it. Are moving in a little bit by you'd moving my hand to make some like, jagged parts of this mountain. Okay, And notice how, when I've shaped this mountain I used like my used enough pressures to make my paintbrush kind of flats I'm using like all of my bristles. And that's to cover more surface area. Because if you try to use just the tip of your paintbrush to paint the outline of the mountain, there's a better chance that the that that line is going to dry before you get a chance to like Phil in the mountain basically and leave so we don't want any dried paint lines. That's why I use, like the full, um, all of the bristles on my brush. And you want eso? I want amused. I'm utilizing enough pressure to make my brush go flat like this, but not so much that it makes the paint unable to paint. So I'm not like jamming my brush into the paper, right? I'm gently pushing down so that the bristles go flat and can spread the paint pretty far. Okay, and now we're going to let this mountain dry. And once it's dry, then we'll demonstrate glazing and mark making techniques to create crags and shadow. So just hold on a bit. Okay, our mountain is dry, and so now we're going to add in the craggy, shadowy texture to make this look like a semi realistic snowy mountain peak. So the color that we use the lightness and the color that we used for the mountain was just , like really light this really like gray. And so the key for adding shadows is toe have a darker color, so it's you can be varying values, meaning varying amounts of water and water and pigment ratio. It doesn't have to be the same one every time. Um, generally one. We're painting snowy, craggy mountains with a combination off like rock that has fallen out. So the mountains really craggy and shadows then I like to have mostly, like a middle value color for the crags and then a few spots of a really darker color. And then, if we're trying to do shadows, then it would be somewhere in between. Thies, too, so more like a value. That's this color. So I think that I might recommend whatever color you're using for the shadows. I have this gray right here, but, um, I think in to go Ah, Daniel Smith into Go is very similar to Windsor Newton's Payne's Gray. If you're curious about that, those air that's on also excellent pigment to create ingredient from to create some color swatches from to get a really dark version amid toe light version and then a very, very light, very, very light value version to use for the different layers of shadows. So okay, now let's begin. So I'm gonna whenever I paint. I always almost always anyway, like to start from white and then move on to dark because my rule from experience is you can always make something darker if you need to, but it is really difficult to make something lighter if you've made it too dark at first. So that's why I like to start with the lighter colors and in general, one painting crags on a mountainside. I think that there's more of the lighter colors anyway, So I'm going to start with, like, this kind of darker than the mountain, but not quite as dark as all these odors. Watches this like still quite transparent light value gray and using paint strokes that look like this, that kind of start thin and then go thick and then go thin again. These were the kind of marks that were going to be using as we painting on the mountainside and starting from the peak. I'm just going to make these little marks craggy marks, that kind of san outward from the peak. Okay, and honestly, even that seems a little too dark. So I'm gonna add water to make my crags just a little bit lighter. And sometimes they can. The cards can be thicker, and sometimes they don't have to have that little tale at the end they can end like that. Basically, my biggest piece of advice is not really to worry so much about the shape of thes crags that you're making. Um, but as you can see, I'm just making varied marks. And I'm starting with this peak. This summit, I'm kind of fanning outward from it and outing these shadows is like adding depth and texture to the mountainside. Okay, so I would start out with the big ones, and then maybe I'll do some over here, too. And generally I always I like to say you found outward from the peak because that's often how mountains are formed, right, as a kind of crumbled downward in this angled kind of way. And then, like if this one kind of mountainside doesn't really have much of a peak than I would look at where there might be, like a little mini peak or dip in the formation of the mountain and kind of use that line to spread it like it's this crack in the mountainside, if that makes sense, if it doesn't make sense, honestly, it's through the rial method I'm trying to convey and teach here is that it doesn't really matter so much where the crags are as much as they're there that you've actually shaped them and because they're supposed to look random anyway, it doesn't matter what they look like so much either, as long as it's like on uneven, um, varying withs and pressures line that's moving down the mountain like you can see a shadow or, um, some kind of rift in the mountainside make sense. So now that we have that lighter, some of mostly those lighter ones, I'm gonna add just a little bit of pigment to my you a little bit more pigment to my palette here and add just a few darker versions. So some of the darker versions I could just use the wet on wet technique to make some of thes crags have a little more texture to them. I can also just paint right on top of the crags already have. But the trick with the darker ones is you don't want to add too many because you don't want them to overtake the wider ones you've already made. So, um, with the darker ones, too, I find its most accurate to say that, like this darker value is where you find, like, almost little dotted textures on the mountain. And so instead of these big, wide swatches of the lighter value, I'm just kind of dotting my way down, tapping with my paintbrush still at an angle because, especially if you're using a professional paper, she want to maintain the tip of your paintbrush, right? So I'm still at an angle. But I'm just kind of moving down in lines using Mark Make me mark making meaning I'm not. I don't have a specific con composition in mind. I'm just kind of randomly moving my paintbrush around. And then, if you feel like you want to add one final layer of marks than use the darkest value you have, and on Lee ad a few, that's that's My biggest recommendation is to not go overboard on the really, really dark ones, because otherwise it's gonna like overpower what you've already done. So that is basically the method that I use to paint mountains. And when I paint specific kind of mountains like if I have a reference photo or something, then I'll often use that reference. Photo is a guide for where I put these marks and when we move on to our final project, I am going to show you exactly what I mean by that. But for now, this method of moving one layer at a time, getting darker and darker with each layer and using less and less paint using less and less surface area for each layer. That is how I create these loose, craggy mountains and this mountain that we've created the layer underneath that we've left . See, we've still have some spaces of that very most lightest mountain lier that could be interpreted as snow all around. It could also be just lighter rock. And so it's kind of up to your interpretation, I guess, or how you paint the surroundings around it are final for our final project. We're gonna paint a more snowy one. And so I'm going to show you how specifically I make the summit look slightly more like it . Definitely a snow as opposed to this, which could look just like a mountain like a craggy mountain. So we have that to look forward to. But for now, practice your mountain shadowy mark making for our loose watercolor mountain. This is probably the most basic form that I would use and because this is just an introduction to the style of painting class. But, um, practice those marks, practice those layering and let's move on to the other stuff that we're going to paint to set the scene. 6. Practice: Other Stuff: So now that we have painted and practiced our mountains before, we can actually dive into our final project. Just a brief video on the other stuff that we're gonna paint. So you have time to practice. If you feel like you need to behind my mountain, I'm gonna have, like, the beginnings of a sunset. So the bottom of this team of my sky is gonna be like a light yellow and then it's going to blend into blue. I don't know if you have noticed around twilight or like right before the stuns Sun starts to set but the sky turns is amazing ingredient where it's like yellow at the bottom and gradually shifts into blue Almost so there's no green So, like you can't cause yellow and blue Make green right And so I'm going to try to mimic that um, sky and I'm gonna show you how I do it before as a practice before we actually do this Grady int on our final project. So, um, I use this fallow blew the Daniel Smith fellow blue to start at the top. And then because adding water makes a color lighter, remember, it increases the lightness of its color value. Then I'm gonna just paint with water down to the middle of this area. And then now that I have that blue part So the wet part of my sky in my practice guy right now is just this blue, this really light blue. That's kind of like gently blending down to the middle. Now I'm gonna take my yellow, which I'm using this color called New Gambo sh um and this is actually going to be a good time to use my ceramic palate because my yellow space on my other pilot has kind of taken up. So I am picking up this new gambo sh kind of deep yellow and then adding lots of water to it and then starting toward the bottom with my lightened color value, new gambles. I am going to start painting from the bottom. And then once I've reached the middle part where the blue would meet the yellow, I'm only going to use water to blend thes colors together and have some puddles of green where the whole when the blue blended and blended together into each other. So I just kind of mocked those up with my Q tips now wherever needed. I'm just gonna add different colors to make the ingredient look pretty smooth, so it doesn't need to look, I'm not looking for super smooth Grady unnecessarily here, and it's OK if you have a little bit of green. I think that, like middle color, is really pretty, actually. So you don't need to worry if you don't quite capture the, like, no green look that I initially mentioned. It's really okay if there's a little bit of green in between, but, um, and for this, I'm not really looking to create a really smooth Grady, and I kind of want some texture in my sky. I want to talk about that more when we actually get to the final final layer. But this is basically how I how I do it, Um, how I paint skies. I get it wet first with with clean water, and then I add the color said I want oftentimes if it's two colors like this blue in this yellow, then I'll start with blue at the top and then, ah, yellow at the bottom and just kind of worked my way toward the middle and then use water um , clean water to help blend the colors together in, like, a really smooth way. So that's the sky. And that's the exhaust. This guy that I'm going to use for the final project and then to frame are mountain to frame or Mountain Peak. Um, we're going to paint trees, and I have lots of other classes that go Maurin depth into tree painting. Um, so I'm not really going to talk a lot about that, but I'm going to show you one technique that I use most often. It's called I Am my own of my own invention. Kind of, um, it's called the blobby Technique. So basically, how I paint these loose pine trees is they start with a line for the trunk and I try to keep the tip. Um, I start. I try to keep the tip appointee at the very top, and then I basically just paint blobs on either side of the trunk just like that. And you see, I start from the middle of the trunk, and then I kind of lift up on my paintbrush so that sometimes I can get, um, these little points toe adds some texture to the point tree. But the point of these pine trees and is this loose style is that it's not super realistic , right? It's just supposed to look kind of loose and cool. And so that's why I like this style of pine tree. So I'm going to demonstrate that again. Um, sometimes I call when I like, point up the needles like that. I call that the wispy technique instead of the blobby technique, but they're kind of similar to each other in that I mean, basically, I'm just like making blobby marks like Mark making. I'm not really paying much attention to where my paintbrush goes. I'm just making the general shape of what I know it ISS and moving, moving down. And I like my pine trees to go all the way down to the bottom. So the thing about pine trees when you're painting them as you can kind of make them this triangle shape if you want, or you can honestly make them a little thinner and just have them. They can be basically the same with all the way down. You don't have to have them go all the way down like I do. They can stop, Um, a little bit up like that. Pine trees often exists like that. There are lots of different ways that you can paint pine trees. Um, so But this is the general method that I used to paint my train trees. One of them, anyway, and the one that I'm going to be using today is just making these blobs, these kind of blobs just by like, if you want to see that in slow motion and basically taking my brush at an angle and pressing down and then moving my brush at work like that from the trunk, Howard and then lifting up, that's kind of the blobby shape that I'm doing. And like, if I were, if there if any of them have a shape, it would be that shape it and sometimes they don't really have a shape all around it. If that makes sense, so but this class isn't so much about pine trees as it is about the mountains. So I'm not going to spend any more time on that. If you are interested in learning more about pine trees and how I paint thes loose pines, feel free to check out my other classes. And but for now, this will wrap up this other stuff video where we talked about the sky and he talked about pine trees and I'm going amusing. The pressure in green for the pine trees I'm gonna paint to frame are Mountain Peak. So that wraps it up for this video. And now let's move on to our final project. 7. Final Project, Part One: All right. Welcome, Teoh. Our final project. So we learned how to paint these craggy mountains using layers of marks, Right, using glazing, which is just painting on painting wet on dry layers on top of already dried paint and to make these craggy looking mountains. And we learned how to make this easy pre sunset kind of sky and thes loose watercolor pines that will frame are mountainside. So now that we have all of the elements we've practiced, let's put it to the test and actually paint our final project. So I'm pulling out my Blick watercolor block and step one of landscapes for me is typically almost always the sky. So let's get right down to it. So I'm taking my large brush number 10 brush and getting sky. I'm just gonna paint the top half ish. Maybe a little less than half, maybe, like the top third, maybe a little more than 1/3 of the paper, and I'm gonna get that wet with clean water number. I always like to paint with two cups of water, one that I always keep clean so that I don't have to go back and forth if I've ever muddied the water with whatever color that I'm using. So I'm using clean water here, and then I'm going to take some fallow blue with that's very diluted with water and start at the top. And honestly, I grabbed a bunch of pigment with this one. So I'm probably just gonna use water and not reach into my power for more pigment because I think this is enough. If I use water, this is enough to bring it down and get it to his light as I want it. So there's going to be a little bit brighter of a sky that maybe I anticipated. But that's OK, so I'm just moving it down to about the middle lighter, making sure that it gets lighter as it goes and using um, cleaning off my brush in between and using clean water to pull the pigment down. And now I'm going to use this new gambo goes deep yellow that I already had over here, and I'm going to start. I'm not going to start at the very bottom of where I want of where I painted the sky. I'm going to start just above from the bottom and then he was water to paint upward don't and one way to get, like cool textures, splashes of color in skies I like to use one method is to, um, kind of paint of word and then lift up my paintbrush. Ah, while it's still wet and I find that doing that is going to demonstrate again, I'm painting going upward, and then I'm kind of just lifting up. Um, that kind of blends the colors together in a natural way, but also give splashes of colors in individual layers. Like I have a little splash of yellow kind of moving into the blue right here. And I think that's something that often happens and skies. And what makes sunsets so beautiful is the splashes are the splashes of color that kind of , um, encroach on each individual layer. Right? And so that's one method that I used to achieve that look. And now, um, remember how I said don't start the yellow at the very bottom. Now I'm going to use queen water and kind of create another Grady int with the yellow so that it gets lighter as it goes down. So the yellow is like the darkest, um, right if the sky ends right here, The yellow is the darkest kind of exactly in between the bottom of the sky and where the blue starts. So it's kind of this, like middle layer of yellow. That's the darkest, and we're trying to get it lighter toward the bottom because actually, we're gonna end the sky more like right here. And we don't want tons of the yellow seeping into our mountain. But it's OK. The little bit of it is by seeping. What I mean is, once this dries only paint our mountain on top of it because of the transparency of water color. The yellow is going to show through because excuse me, because our mountain is going to be a light color, right? And so because it's going to be a light color, it's going to allow the transparency of the yellow. The transparency of that color is going. Teoh allow the yellow from the previous layer to come through. And while we do want a little bit of the yellow to show how the sunset kind of is starting to reflect off over the mountain, we don't want the whole thing to be yellow, and we don't want any dried paint lines, um, toward the bottom of the paper. And so that's why we are bringing down the yellow and almost blending it into the paper as , um as our layer so that the yellow just kind of ends seemingly without, um, any fanfare just kind of blends into the white of the paper so that there's no yellow dried paint line as we paint our mountain. But one, once we do paint our mountain layer, a little bit of the yellow wear underneath will show through, and that can just kind of enhance the effect of the sunset reflecting off of the snow of the peak. So with that long, arduous explanation, um, this ends the first layer of the final project. So I'm going to go ahead and let this dry, and then we will move on to the next. Still, here 8. Final Project, Part Two: welcome to Layer two of our final project. So we painted this pre sunset pre kind of twilight sky. And now and we waited for it to dry completely, either by waiting the natural way Oh, her using an embossing heat tool, which I have. And the key here is that this needs to be dry completely. So if it's wet at all, it's going to make our mountain look not quite the way that we want to look. So for reference, I am using, um to paint the mountain. Anyway, I'm going to use this photo from unspool ash that I pulled up in the previous mountain video and I'm going to use This is kind of a reference for that. Arrested my painting basically. So I'm going to do this kind of style mountain where it's, um, kind of like a triangle right in the middle. And then it almost looks like the snow is zigzagging on the way down, right? And so I'm gonna try to make my marks using that style. Um, so first we need to form the bass player for the mountains, and before I get going, I want to note that it's OK If you're using a reference photo and it doesn't turn out exactly right, that's totally fine. And I honestly think it's good because I think that it stretches your creative anymore when you look at a reference photo and use it just as a starting point, Um, but then kind of incorporate your own style in your own twists into it. I talk a little bit more about this in my copy to create class, um, about how to use inspiration, photos and inspiration from other artists as a way to help kind of jump start your own creativity. But then how to move away from copying? Exactly. Um, that's something I'm really passionate about, and I use all the time using reference photos and tutorials to start and using them as inspiration to start and then moving away from them. So, um, anyway, that's my little spiel. But now I'm going to paint this mountainsides. I'm going to go from edge to edge. I'm starting a little bit beneath where the yellow is and I'm using. This kind of a lighter version is a little darker than I initially anticipated, so I'm using water tow. Lighten it up a little bit and using the full pressure on my brush so that the paint doesn't just immediately dry. They do not want dried paint lines. And I want to be a little craggy and just go off to the side like that. And then I'm gonna take water and bring the pigment down just like that. Okay, so this is the first layer of our mountain, the base layer, and I want to make sure that it's plenty light. Okay, I think we're good. And then I'm just gonna bring down this layer just a little bit more with some clean water , mostly so the pigment doesn't dry into a line like I talked about in the previous layer. Okay. And now I'm going to wait for this mountain layer to dry before outing my wet on dry marks to give it some texture. 9. Final Project, Part Three: All right. So this mountain layer is try. And now we're going to add the wet on dry shadows and crags to paint the snow and the shadows. And so I'm just going to keep this reference photo here so that we can look at it as we're painting. And again, this is you have to be an exact replica, right? This is just a general reference photo already. My mountain is slightly differently shaped, but I am going to use this to my advantage. Teoh, help place the wet on dry shadows. So because I like to start with light first, right? Um, let's take a look at where the lightest parts are. So in the previous mountain part, in the previous mountain practice video, I said that the lightest areas usually were the biggest and take up the most space. And I don't know if you can see very well here. I'm gonna show you this mountain up close there. Some parts of this mountain that are, like, shadowed, like this peak right here is casting a shadow on this side. And there are some shadows over here. And so that's what I'm gonna paint first. This, like very, very light gray And then after the light greys when I'm gonna add in the darker, rocky parts around it and I think that's it's gonna be a little it's different instructions from the practice video because I don't think this light grey is gonna take up more room than the darker grays of the mountain. But I do think that they are going to be, like, wider Ah, and expansive on the mountain. They're gonna take up more surface area. So, um, but these shadows are going Teoh, help Give us. I'm not going to use this size brush. Actually, Um, I'm I had a size for I also have basically all the sizes on hand of six or eight. I think would be good to for this which these shadows that we're going to paint that are gonna kind of help give us shape two of the mountains. So I'm going to use this piece of scrap paper to kind of dictate the color of my shadow because I want it darker than this, but very light also. And I think that color will probably work, so we'll just have to check it out again. This is in to go with a lot of water. This color is, um, Daniel Smith Indigo, which is very similar to Windsor Newton Pain Windsor and Newton's Payne's Gray. So the shadow, let's let's see where the route the shadow is. For the most part, I want my crags to be a random. But the shadow kind of like starts at the peak and is kind of just jagged along the ridge, kind of making a triangle kind of line in the mountains. So I'm going to show you how I'm going to do that. So if it starts at this peak right here, I'm going to start it right there. And then I'm just going to kind of create the jagged line like that, and then I'm gonna fill it in. So I need to move quickly. And it didn't go the full like mountain ridge. It kind of stopped here, like in the middle, like it was creating this little jagged triangle almost in the mountain. Okay, so I just kind of moved my paintbrush in a random kind of manner, knowing the general shape I wanted the shadow to be, and I'm gonna do the same to extend the shadow in other places. So it kind of looks like, um I only use too much water here. There's kind of a little shadow in a triangle shape that could show, like the shadow of a ravine or something right there. And maybe another one, just like down right here on this is actually where to see if there are any other big ones . I think that was mostly the big shadow. Because see how my water is puddling means my brush is too big. I'm trying to make too small of shadows with this brush, so I'm just taking my Q tip and mopping that up. And so I'm only going to use my eight brush for big, expansive shadows. And so what? Maybe because my mountain is extends it a little bit more than this one I'm gonna use. I'm going to create another shadow. Um, over here. That doesn't really exist in the reference photo, but I'm going to pretend that it does, because that is what we do as artists. Okay, so, um, I just There's really not so much talking is I'm explaining what I'm doing here because again its mark making right, it's just me decided, OK, I'm gonna put kind of like a craggy shadow right here and starting where there was a little dip in the mountain ridge and just extending it so that it goes kind of down at an angle and using, like moving my hand, removing a paintbrush slightly so that I'm not having these smooth edges of the shadow, But they're more like, craggy and textured. That's the look that I'm going for. And it can be a tricky to get the hang of making marks like this. I really know. And so it's good to practice, um, before you do the real thing. But, um, just know that everybody always feels uncomfortable when they lean into really just letting their hand move wherever it is an uncomfortable feeling. I totally get it. So anyway, now I'm going to take my smaller paintbrush that think this is my size for again. I'm just make a few more of these really light shadows before we move on to our darker ones . So just gonna paint, maybe warn along the side like this, and at this point, I'm kind of using This is a reverence photo. The biggest reference for the this layer of shadows I needed to use was right there. And so I'm mostly going to use the reference photo as a reference when we do, um, the really dark marks along the mountainside for right now to use, like, lighter shadows, I'm just kind of moving them wherever, and there are gonna be too many of them. I'm just about done. I think you can call that good. And then looking on this, I think this shot on my just be a little bit too light. So you add some water to break up the pigment a little bit, but that's okay, too. If it's not exactly as light as I had intended it to be, um, good to know for next time. So that concludes this first layer of the mountain. And now let's move on to the second. Well, I guess this was the second of the third layer of the mountain to add in the final like dark parts to wrap this all up. Okay, See you soon. 10. Final Project, Part Four: Okay, Now that our 3rd 2nd mountain layer has dried, let's move on to our third layer. So we did this layer with the with the pretty light shadows. And now let's add some darker shadows. So first thing that I want to do is test out the color values so that I get the right one in my palette. So I'm going to pick up some of this into go, and it already has some water in there. So on my scratch piece of paper, I was going to see how dark that is and compare it to this mountain. I think that is probably pretty good. We could go a little darker. Um, but remember, you can always go darker. It's really hard to go back to light, so But I think no, I'm gonna go just a little just a smidge darker over here, because I want those to be fairly dark. And then if I want to add some more texture within, I can always odd some really dark pieces later. Okay, so now that I have my color in my palette, I'm going to use my reference photo and just to give me a general just to provide a general sense of where I'm going to be painting. OK, so as we talked about in the first Project Mountain Project video, this seems to be like this. Snow is kind of zigzagging, and so it's almost like in places. They're these little diamonds, like, kind of diamond shaped shadows here. And so I'm not gonna paint diamonds. Exactly. I'm going to use the mark making techniques already recognized, and this is a little bit further down from the summit. Okay, So, like, down in this area, and I'm just going to paint in, like, kind of diamond d shapes like this. So, like, this is kind of a diamond d kind of shape, right? But I just moved my paintbrush the all over, and I made sure to leave some white spaces in between, um, Teoh represent the snow coming down here. So we still want to have these, like Teoh to kind of emulate this zigzag of the snow. I'm not going to spend an hour and paint exactly the design of this. I'm gonna look at this spot right here. Maybe all show you up close. I'm gonna look at, like, this spot right here and notice. Okay. It seems like there's maybe four squares or four diamonds of dark right here with some snow in between. So I'm just gonna kind of roughly paint in a square or diamond shape and on leave some snow in between. But I'm not going to put too much pressure on myself to get it exactly right. And so that's where the mark making comes in where I'm just kind of making the general shape of a diamond in that I'm using this darker, shadowy color, and then I'm just gonna let it go like, and this I wasn't really paying much attention to where my paintbrush waas. I just kind of used very amounts of pressure varying, um, lengths off the stroke, Um, and created a rough shape of what I think that would look like. And so that's basically what I'm gonna do for the whole mountain. Um, so, like, if I if I go back to the top, the top of this summit only has a few dark spots, and so I'm just going to make some few a little dark marks. I hesitated to say dark mark because of the Harry Potter thing, but because that's what I'm calling these, um, little random, wet on dry, shadowy things and calling this a version of mark making like we're commandeering mark making to use for this mountain, right? I'm just going to make a few of those long the mountainside because I want to leave most of it white. Um, because there's this is a snowy peak. So, um, the summit we want to leave mostly white and then around the shadows and around the white space, then underst gonna keep adding this dark color and you can look back to your reverence photo and try to copy it exactly. But I'm not going to do that. I mostly brought this out to kind of help me get the feel for what a mountain would look like and so I can go back to it as I want if I want to. If I do want to try to make things look, you know, pretty similar to how they would looking in the photo if I want to make it like a little more realistic or whatever, but I'm also just gonna let myself loose. Let myself and my paintbrush free to move wherever and paint the shadows in the natural wild way that they should be in the first place. So, um, I will note that there are a couple big shadows, and they're not even really shadows. This is where the mountain is coming through from the snow, right? So where is, like, at the top of this peak? There's more white down here. There should be more dark. Um, I'm gonna note that, but I'm not going to, um, spend like like I said, Ah, long time making sure that it looks exactly the way that it's quote unquote supposed to. I'm just kind of letting my paintbrush go, making sure to leave some white spaces in between. So I'm not just painting like giant swatches of of paint completely filling in this layer. I want to leave some white because that's where the snow on the mountain shines through. But, um, but I also want to just keep putting these marks all the way down. But I do want to leave some spots where it's should be more wide at the top. And then in some spots, it should look like, kind of like a zigzag. And so keeping that in mind. Even if I don't get that exactly right, though I'm not gonna worry too much about it. So I'm just kind of letting my brush do its thing, leaving some white spaces. And then if you want to leave, even more like of these black dots, this isn't black. This is still in to go. But if you stiff you the way to like the rock kind of peppers among the snow, you just kind of create even more of these Top with the side of your brush to create more of the textured look. And that's great. So this is my mountain. Um, Now I'm gonna take some highly. Some are really pigmented paint and using the wet on wet technique. I'm just gonna go in some of these wet shadows and just to add a little bit of texture and color contrast just kind of happens and dark spots so that it just adds another element of contrast to the shadows and crags and mountain me texture that I just created. Okay, so now that we have this layer done, uhm I'm going Teoh, Honestly, I'm going to call that mountain. Good. Now does this mountain look exactly like that mountain? No, of course not. Because this is, as I have said before. Loose style, watercolor, Right. But it does look like a mountain. And once we put especially once we put the trees and to frame the mountainside, I think that it's going to look. The scene is going to look really cool. So another disclaimer I want to put here is off course. There are ways for you to home this technique and make your mountain looks slightly like slightly more realistic. But because this is a beginner's class, I really want you to just lean in on let loose and let your paintbrush just move and not worry about things looking realistic, quote unquote realistic or things looking right. And just let your paintbrush move across the mountain to create this craggy technique. And then the more you do this, the more you'll be able to refine it and make your mountain look even like more. Maybe what you were hoping, but I genuinely I really love the look of this style. And so, um, that's why I made this class for you. Um, in the future, I may do like more advanced snowy mountain class, where we go slightly, even more like even deeper into specific formations of the shadows and whatever. But for this class, I just wanted to let loose enjoy the mark making. And, um, let's the wild the wilderness be infused in your mountain by guiding your paints and your hand on Lee loosely and just kind of letting it roam free. So, um, that is it for this layer, let's let it dry, and then we will paint the trees around it. 11. Final Project, Part Five: All right, So we have painted our snowy, craggy mountain are loose, snowy, craggy mountain, and now we're going to frame our peace with some trees. So, um, I'm going to do with two layers of trees. I'm going to do the first layer of trees kind of at the base of the mountain. And then I'm going to do once that dries another layer of trees that are more in the foreground of the painting. But the trees are not the main event in this painting. The there really are dressed to frame the mountain. So that's something to keep in mind. Amusing Prussian green for my trees. If you've ever taken any of my other tree wilderness classes, my one rule not one. I have several, but one of my rules, if for distance, especially to create depth if you're painting layers, is the farther away you are, the lighter the trees are. And in this painting, as you can see, it's slightly different because obviously the Sinus shining on these trees, so the darker trees there in the back and lighter ones in the front. But we're not using this exact photo as a guide for color necessarily just to see what the trees would look like. That, uh, what the trees would look like as they frame the mountain. So with trees, I either use a small paintbrush, like a size zero, or you can use if you use your handle your papers very carefully. You can use the tip of, ah, larger paintbrush and, um, to paint the trunk and paint everything else. You just make sure you want to use it on the on its side. Because if you use a paint brush like this and use it tipped this way without if you use too much pressure, you're going too quickly. Um, Ms, shape your paint brush so it won't be quite a sharp is a tip sharp of a tip. And that is really what you're paying for when you purchase professional paintbrushes in the round shape is the fine point, the tip of the end of a paintbrush. So that's my little spiel about that. Okay, so because we know that the darker you are darkest are very darkest trees to be the foreground trees and want thes background trees to be lighter. But we also want them to be dark enough that they cover the mountainside. So, um, I'm using a still pretty, heavily diluted Prussian green here, and I'm going to paint a tree right on top of this mountain layer in using the methods that we talked about. And I'm going to make this layer kind of disappear into the bottom of the page. And this is a technique that I often used to create. Minister, uh, I have a misty forest class if you're interested in learning more about it, but basically underst creating like a layer of wet underneath the tree line that I'm painting here so that when I paint the trees, when I put them along and paint them along the bottom here, they're going to blend in to that wet layer so that you can't see the bottom of them anymore. And it kind of just creates this stark, cool, misty technique. So I'm going to paint these trees just a long the bottom of this mountain, this mountain side. And whenever I paint a tree line, I always like to paint them in varying sizes, so they're not all the same shape now, all the same size. If you're doing this misty technique. You do need to move fairly quickly. Usually otherwise you need Teoh. Make sure to re wet this bottom portion that you're using for the trees, which is fine, too. So you can see I'm using a pretty dark pigmented version of this Prussian green right now. So for my next layer, I might even add a little bit of in to go to the Prussian green to make the trees even darker. We'll see. I thought this is how I often do. These final projects just kind of make decisions about color palette and composition on the fly, because that's just how we roll, um, camp. So I'm making sure I'm using this blobby, wispy kind of technique, and I am just painting right on top of this mountain layer. It's a little busy, but that's okay. And then to make sure we don't have any dried paint lines, I'm just gonna bring this layer all the way down. But I don't want I still want them to look like they're just kind of misting into the bottom exactly like that. So that is one layer of trees, and we're gonna let these dry and then paint the final layer of trees. - Okay , so my first tree layer is dry. And now I'm going to take the darkest pigmented version of this pressure and green, and I'm even going to add a little bit of this indigo. Actually, the indigo goes a really long way. So now I've turned up mostly into ghosts. I'm grabbing a lot more pressure and green an outing it. So I have this, like dark turquoise e green color. I want I wanted to be very dark, and I'm going to paint a few trees, only a few that, like span, mostly the length of this paper. This one's going to be just a skinny one number. I don't want these trees to be giant because they're supposed to be like a frame for the mountain. The the main event in this piece is the mountain. And so any tree that I paint, I'm painting it just so you can see it as a frame for the mountain. Not just so like, it also adds complexity to the painting. And, um, you know, it's always fun to practice and paint more things. I mean, this like a skinny tree, as you can see um, but I think it's easy when you're painting tree layers in the foreground to make the tree layer the main event. And for this class, because we're this class is all about craggy mountains. Just make sure to remember that the main event is still the mountain. So OK, then I'm gonna paint just another tree right on top like this, just right on top of that previous layer so that thes trees are layered on top of each other, even if your tree layers are basically like you're basically painting on top of the other stuff that you painted, so it's like why they even paint it. I think that it just adds more depth to your painting when you add layers and layers. Our forestry, like this layers and layers of subjects, doesn't even have to be trees, really. But it does help. It's not. It doesn't make your previous work useless, basically, is what I'm saying. It on Lee makes it look cooler, slightly more realistic, like a riel and scape. Whatever that's supposed to mean is painting these layers and layers of trees. So I think I thought that the first time the I painted layers of trees is well, why do I even paint the other one if I'm just going to cover it up? And the reason is you can still see bits and pieces of it. You can still see parts of the layer before coming through the other tree, right? And so that's what we want to emulate, that there's just so much in nature and you don't quite see everything. You only get to see bits and pieces sometimes, but that doesn't mean it's not there. And so you're just adding even more depth to you're painting. So then I'm just gonna paint some smaller trees. But these air, more like they're going to be treetops don't here. So not painting them like they're trees, necessarily. It's more like I'm seeing the tops of these trees that extend further down than I can see. That makes sense as I'm using this point again. The point on my paintbrush I'm painting at an angle so that I can preserve the point as I paint, um, because the more you like pound your brush onto a paper like that, the more you're gonna lose the shape of your brush and then you'll have to replace your paintbrushes more often, and that just gets expensive. And so, if you know about how to take care of your brushes from the beginning, it will be a lot easier to maintain that care and, you know, save your money. So okay, I am just about done. Maybe I'll do one more neato, get a little bit more paint in my palette here for one last tree that goes right here. Yeah, just to fill in some space. And I'm just gonna, like, make some marks along the bottom here just to fill in some space the same, like Mark blobby things that I do too even paint the trees. I'm just kind of filling in that white space so it looks like a full forest. And now, as a final touch, I'm gonna take my small paintbrush and paint three little birds flying out from the mountain. Just add more depth and complexity and more elements to the scene, and I am finished. So we went through all of the layers here. We painted the sky, and then we painted the layers of the mountain, which is the main event of this piece, right? And Then we painted the layers of the trees to kind of frame the mountain and finished off with these birds to just pole tie the piece together. So thank you for taking this class with me and going through the steps of painting this loose watercolor mountain. I'm sure there are lots of classes that teach various methods that are different and maybe even better than mine. But I really love this method. And I hope that you enjoyed it too. So, um, in the next video, I'll do, Ah, quick recap. And but if you don't stick around for that I understand. I just want to say thank you for joining me. And if you really love your work and want to share it, please tag me. My handle on instagram is this writing desk and I would love to cheer you want and see how you did. And, um yeah, I guess that's about it. So once again, thanks for joining me and I will see you next time 12. Recap: thank you so much for joining me for my mountain, my snowy mountain peak. Ah, watercolor class. I had a really fun time putting this class together, especially as I mentioned in the intro video, because watercolor mountains were always so intimidating me. And while the result that we came up with wasn't exactly as realistic as a photo, that's not really what I'm going for, right. If I wanted to paint really realistic mountains, I could just snap a picture or I could spend hours and hours doing it. But what I love to do when I paint is to how fun learn a few simple tricks. Teoh make my paintings beautiful and capture the essence of the wilderness. And I think that I achieved that. At least I feel like I did with my final project, so I don't that you had a good time. If you really loved this class, I have dozens more on wilderness topics around trees and other things in the wilderness on skill share. So make sure to check out those classes. And if you really like this class and think that other people would, too, the best thing that you can do for me is to leave her of you. I love hearing from people and I love getting feedback. So if you leave her of you, I would really appreciate it if you have any questions or any other, Um, anything else you'd like to ask me or bring up as as faras feed, but goes you can also leave a question or start a discussion on the community board. Um And then last but not least, I would love to see all of your final projects. So please feel free to post them into the project gallery. And if you decide, you just love it so much you want to share it with all of your network. And so if you post your final project on Instagram, please tag me. My handle is this writing desk, and I do Ah, few rounds of features and my stories a month of, of all my skill share classes. So if you make sure to tag me in the photo and in the caption makes that'll make sure that I see it and I'm a just share your final project with all of my followers to So, um thanks again for joining me. And I hope to see you next time