Watercolor Painting: Enchanting Autumn Landscape | Jaya Gupta | Skillshare

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Watercolor Painting: Enchanting Autumn Landscape

teacher avatar Jaya Gupta, Watercolor Artist & Calligrapher

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

6 Lessons (48m)
    • 1. Introduction

    • 2. Material Required

    • 3. Techniques Used

    • 4. Layer 1

    • 5. Layer 2

    • 6. Final Details and Project Explained!

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About This Class

Have you ever been enchanted by the beauty of autumn leaves? The look and feel of autumn and the cool breeze... While gazing sky through autumn leaves, do you feel love and joy? I welcome you to enjoy this class with me. 

In this class, I will take you through autumn landscape Watercolor painting. We will paint beautiful leaves of autumn while simultaneously learning wet in wet and wet on dry, and layering techniques. You will learn with me how to notice details and important parts in a landscape or reference picture. 

  • What are you waiting for? Let's begin the magic of autumn and paint with me this enchanting landscape.

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Jaya Gupta

Watercolor Artist & Calligrapher






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1. Introduction: Hi guys, welcome to my skill share class. My name is Gerald Gupta and I'm a watercolor artist. In this class, we are going to enjoy painting Autumn landscapes. Have you been enchanted by the beauty of autumn leaves? Heavy ever looked upon sky with leaves and trees and between. Do you enjoy those things? If your answer is, is, feel free to join me. And painters enchanting autumn landscape. I will walk you through each and every step. I will be explaining you the steps. You will be seeing wet on wet techniques, veteran right technique. You will also see how the colors makes how I mix the colors, how i do layering, different kinds of technique. This is the painting done from a reference picture, which is free. And basically the scene is looking upon the sky. Way you see the autumn leaves and branches. And it's just seen which makes you free the beauty of autumn more. So. Join me and let us begin this painting of photon. And let's celebrate this season. 2. Material Required: To pain this autumn landscape, we will require a 100% cotton paper. I have used it to workflow can be both. Will require hungry person gotten paper because you would be doing wet in wet technique. So it's a must. Then have used three brushes, these two around and didn't brush by craft double when a slash and another restaurant societies six and the system is three. Then I have used secret mode brush. I think this is a synthetic brush and ELA science brushwork vote because you have to apply a border on the paper. So endless times brushstroke broke. Then I've used vanes. This is Fight Night, bright blue. Or you can use it. So basically it's a cold blue. You can use. But I look, I naming light blue color. Since then I've use brain is create vom sepia, been Sienna, lemon yellow and sending a innovate. So basically shapes of fear law, penis gray, warm CBR dog bone color, burnt sienna, brownish orange color, and pool blues, either breakthrough any cool blue color that we, we have with us. That is it. You will of course require a Java photo and an 80 should be periphery making a mistake. That is it. Let's see the techniques now. 3. Techniques Used: So let's begin with the techniques. I'm using 25% cotton paper here just to demonstrate to you the techniques. First is wet in wet technique. Then it is wet and dry technique. Let me just write the numbers. Then. Third is layering technique of glazing technique. So for wet in wet technique, we are going to use, as the name suggests, it's wet in wet, both the paints as opposed to read. So first of all, I want to show you with a wash of one color. This is cool blue, Othello canine blue. I'm going to make a wash of this failure on paper. So this is a wet paint. Ok, I'm applying wet paint on people awake for Russia, blue color. Then I went to wash my brush properly. I'll clean it properly. And then I'm just going to apply clean and pure water on paper. So again, water applied here is wet. Now I'm going to pick some color. Let's take red color and I'm going to mix it with previously applied warm CPR on palette to make a branch. Now says broccoli has been applied very much earlier than water. So now what you will see is, first of all, you will see the diffusion of the paint. I'm applying wet paint of brown color on wet blue part. And again, I'm, I'm playing bed Brown on Porter. You see diffusion here. But the diffusion is more in water as compared to the paint. Because the blue color has been applied earlier. So as the time of, you know, wet paper increases the painful diffuse lists. Okay. Now we're going to talk about wet and dry technique. The system colleages going to apply paint on people. So this is a technique that lets you have the paint in a crisp fashion, a sharp fashion. The paint would be Chris, the lines for breakfast. There will be no diffusion. And you can apply different kinds of pressure on your brush to have different kinds of strokes. So this is for your detailing or if you want subject to have a sharp point, sharp color. I'm going to demonstrate you're layering technique, which is when you apply a one-year of paint and you just allow it to dry completely. So I'm going to blow air on it so that it dries. And then you can use the same color or you can use a different color and apply it on it. So I'm just checking whether it's dried or not and when to apply it on the side raise if it diffuses the Napster, wet, snow diffusing. So it's a good news. It has been tried. I deliberately took very less amount of water and yellow color. So now I'm just applying Benkler and see here locally has been dried. So this is basically layering technique. See you are, you are going to use wet in wet technique. But Andre technique and layering technique. Also, you can see how pink and yellow colors, wherever they touch, how different colors there. So this is a view deal flaring glazing technique. Can you see this? So these three techniques are the ones that we are going to use to paint this autumn landscape. Let us begin now. 4. Layer 1: Let us begin our painting. The sister defense picture. I'm going to be in this landscape, but this is going to be very loses stain. And I'm just going to roughly use the idea of this reference, how the branches are made, how the trees are mean, and nothing more than that. So we are going to start wet in wet technique with water. So I'm going to bet the people and I just don't want to read it. Lake soaking livid, but kind of listening Vet rate. So just make sure that you went to people in the right amount. Don't over vetted. Ok. Now since this is a watercolour paper, it's going to absorb water territory. Now do you see these blue sky in the picture? So the areas where I see the blue color, blue sky from minutely importantly, I'm just going to add blue color on those areas. So since I've made the people read for this book was only, I'm going to keep my reference in front of me. And I'm just going to take bright blue color, cool color. But I look at M of semi layer or white knight spread blue. And I'm just going to apply blue-colored roughly on the people. So wherever I see blue color, office guy, this is going to be my first layer. So of course this guy is the far this formers. So this guy has to be the one that we apply first. So a very light wash of blue color. Now, these are the parts of your local law. The colors that we're seeing out of leaves. So I'm just going to again take yellow color and then start applying it. People just randomly straw because we're just applying a first varchar of first layer of this autumn landscape. So just do it randomly start applying yellow color on the people. So this is just becoming our base for painting. If you want to put tape, masking tape, all, all on the four sides of the paper. It's all up to you. Now. Have a plain water and it has been 34 minutes for me. So most rapidly the people has become a little bit drier. It is still wet. So I'm going to pick an atom fresh brush for doing it. And then I'm going to take warm CPR color to make the branches warm CPS a dark brown color. Let me show you. I'm taking bomb sepia color and I just want to copy how the branches are made in the picture as this one to copy that. Just to give an organic and more natural local branches, stems. I'm looking at this reference picture. So I started making take lines and lines. And what I'm doing is I'm finding warm CPR little lighter. So I'm going to make small paintings Cree and less of warm CPI. So you can see 60% of paintings gray and 40% of form sepia. And now see how dog does wrong color looks. So see how I am going, left, right, goes, declines in lines. This is something that is has to be done randomly, okay? Since the paper is red, you can see how the colors is diffusing. They're not very sharp colors. If, if the people would have, when you dry the colors would have been very sharp. So I recommend you to do this step of making branches when the people is a little vet. Not soaking me were two very well. But, you know, does a still VET such that may have been sort of defusing? Not very much, but yes, it is diffusing and it's giving a very lovely light VSP effect of branches. Now I'm going to make branches of the left side. And since this is a very natural look of the trees and branches, how they are in reality in forest. This has to be a little, you know, not something that you have seen normally in paintings. I'm going for more natural look. So I'll just make very weird and the friendships. So keep on making these shapes. It's not necessarily that you just copy it exactly, but, you know, try to use it as a reference. Right now I'm just focusing on making taken branches, main branches. But as you go you give me two narrow stems, tweaks around. And you don't infect some weird, I'm just doing it very random. And making random strokes of brush sometimes sends, sometimes thick. Can you notice the left part and the center part that we made previously? Board do not look same. Because now people has started becoming a little drier. Ok. So the strokes are going to be little sharp and little less diffused. Ok. Don't worry, I will be sharing with you this reference picture so that you can yourself observe how the branches are made, how these ranges up here. You can then just copy them, copy the movement of the branches according to your wish. Or you can make it in your own random way if there is something in your surrounding. If we live in such an area where they're out, didn't leave sensors, beautiful scenes. Then go ahead and copy those scenes. You know, just being inspired by those scenes. Also, as you can see, this is an autumn landscaping thing where Vc, yellow colored leaves, primarily these yellow colored leaves, if you will zoom it, you will find other colors as well. But basically it's a local law. If you have something in your mind, like if you wanted to go for more of oranges color yellow, golden color, green color, red color. You can go for those colors as well. See how I'm making these random lines. I'm not even looking at the reference. Just make these random lines. Because ultimately this is how a forest looks. So just make these random lines. And now I see my sky looks quite done as compared to the branches and it has to look bluish. So I'm going to take my big brush and I'm going to start putting blue paint, bright blue or sending the epithelial guy named Blue. And this is sort of negative printing that we're doing because you're painting around the branches. We are not putting paint on branches, but we have been doing around it. So this is negative painting. Another important technique. Also I'm kind of doing layering. This is leering of paint, glazing technique, leering technique. So I'm just applying paint again because I want my sky to be visible. And it's giving a beautiful contrast to leaves the blue sky and yellow color that given a beautiful contrast to each other. So it's very important that we apply blue color of the sky. Again. If it just happening with you also, via your painting, you see the blue colors very late. Please do this step. It's very important that as chi is visible nicely. Because as you see this reference picture has this reference picture is very important part of Blue Sky. Also, if you find a lookers lays, start putting it. Right, then just wash your brush and wait for this part of the painting to dry. You're going to read for it to dry or use a blow dryer. 5. Layer 2: Now our first layer has tried, so we are going to check it by touching her fingers or tilting the paper a little bit and really be able to understand that that has tried. So now we are going to be bingeing leaves and we have to observe how different colors are there beliefs. So I'm just going to pick up lemon yellow color, which is exactly like a color of Lebanon. And I'm just going to make simple strokes. I'm going to use a different size of rush. This is a little bit bigger. The societies sex. So I'm going to take lemon yellow and start making round shape of the leaves. It's not necessary that all of them around or circular, but may make most of them or at least a few of them circular shape. As you see. I'm taking a little bit of water from the jar. The reason is I want to make some of the leaves of late value and some leaves of dark value. But light value, I mean there is 80% of water and 20% part of lemon yellow. So we will get a light curl of lemon yellow. That is why we call it light value. And if you want a dark value of Lebanese ALU, we will have 70 to 60% of 11-year law and 30 to 40% of water. So we will get a darker color of lemon yellow. So these steps are very simple. Just notice, I'll zoom it for you. This notice how leaves are small around in order to make some stamps. So we have to be careful with that. You have to make a small dots than there are tweaks or side stems. Just make small dots there. So as you're seeing, my hand movement is quite random and quite fast. This is done in real-time. The whole video that you are seeing is in real time. So this is very quick and fast and easy way to make leaves. It serves the purpose. Now notice where when I'm putting this yellow color on the blue part of the sky, naturally the color is looking a little bit green. So that is okay. Just keep on adding these leaves. Now this is where Dawn dry. This technique is wet and dry. Add water. Then just, I have started using Suddenly a yellow light. I want to have another sheet of failures when so diverse shade of yellow, you have resisted using that CM deliberately stopping and trying to make those leaves circular. C is this will take your dime. It can only take little bit of your time. But this way you can enjoy and see how by applying these dots, we are actually wasting a tree. And how I'm changing the colors from 11-year Lu to Somalia yellow light. Just notice that it's actually to be honest with you, it's very random. But yes, I, you know, the truth is fetus can't always copy the reference exactly, but we couldn't get the idea from it. The most important ideas that they get from the reference was, what were the colors port for the subjects that colors blue and yellow and brown. Laws of sky. Yellows of leaves, and Brown was branches and stems. So this is important part that we noticed. Now we just have to notice is what? Where is the blue sky? Where are the leaves? How are the branches, please? In this painting, we have to just copy that. Then raking leaves first offered since VC leaves us so, so many in the sprinting begin go it as the way we want as I'm doing. But what are we sure about leave source wherever they're tiny tweaks or stems? I just made sure that I am making them smaller in size. I make them like very small dots so that we have this distinguished difference. But in the leaves that somehow Vic and some other small as they are in nature. So we have to keep an eye for little details also. And then we have to do the things randomly. And as I'm saying, See how the painting is. Almost, it's almost to the finish, but it's almost getting complete. At least with making leaves, right? Let's see how I'm making small dots here. With, with time. You will understand by looking at reference pictures What is important but, and what does not and what are the subjects of water, the colors, Stacy? I think first of all, the most important thing is what are the colors that you see? What are the most important colors you see? Then what are the subjects that are important for you that you want the viewer, although observer, to notice a new painting. And then accordingly we made the colors, we make the darker values, we make the light when you use, it just works accordingly. Ok. I think my only regret is I should have used masking tape, seasons the papers moving quite in between when I'm painting, but that's okay. So keep on switching between lemon yellow and yellow late. If you have another yellow color, then please use that. Just have two or three shifts of fair Lord, even do enough when it leaves F2 sheets, fellow. Now, I feel I have almost put the tiny, tiny dots everywhere and I'm going to wash my brush. And I'll see if there's anything that I can do more into it. I'll just switch on the flashlight and you can see how it looks now, this is an important part to stop and to notice if there is anything more required in it. So now I'm going to pick a little bit of bonds Sienna, and then put it around the leaves. And I'll see that looking nice at this point. No. This is a step that we are going to be doing in another lesson. In the next lesson. Right now, I'm just going to pick some Lebanon, learn seemingly unrelated and start putting it at some places where I bought the burnt sienna. Just keep on doing that. And in fact, I'm willing to live yellow light on lemony alerts. Well, just to give it some dimension. Now I see the right part of the paper is completely white and it does not looking good. So what I did, I just took some bright blue and I started adding the bright blue on the sides of the people. So please do that as well. If you haven't, given their blue sky look on the left and right on top, bottom, just don't leave it blank white. It looks very or drain because this is a scene of a reference of a scene that we're seeing in real life also. So please make sure that it's complete. Now I am going to take some pain in screen warm sepia. And as you can see, the branches are very light as compared to leaves. So I will start adding branches again. I will do living again of the same color as I told you, leering and we don't have the same color as well, right. Not only different colors of the same class when suddenly ringworm CPN paintings cream mixture on previously dried layer of penis Cree and warm sepia. So this way the whole branch looks darker. No, you are already able to notice this. So this is the technique of layering and give some bumps to the branches, you know, bulging out, coming out from the sides. It makes a, you know, it makes it more organic local. The tree of the branch slowly, slowly, you know, you don't have to do it and quick way. Just do it slow, fluid with ease, enjoy the whole process. It's a very simple painting. The most important part is it has some very simple elements and it doesn't require very amass stream in this field. See how I'm making my brush movements rate. So you have to, you just have to enjoy the process and don't worry if you make two zigzag kind of lines. It's just fun. It's how nature is right? Now. You are able to notice the difference, a darker tones to dark over use of the branches. How dark the RNA is actually making a difference. It isn't telling us that these branches are actually quite closer to us, quite close to the observer, the person who took this picture. It's quite close to that person. These wrenches, let's say they were darker in the picture. Now I am again going to work on the right side also because in the picture the spike was top. Just add these tiny diamonds stems. Not all of them are not going to treat each Navy stem. Ca, even I'm adding more stamps. It's just for the natural look. Leave the old tiny stems like that because they will give a look dead there. They're just more above the main branches. They're more farther away from us. Now, if you feel, if you feel your leaves are not that dark, start applying yellow color again. And in fact, ups, I will suggest you to put leaves on the branches as well, on the main branches so that the plant actually looks natural then leaves the branches look natural. You know how the leaves, their own branches in nature, you don't see the complete branch. You see some part of the range, right? So you have to make sure that you put vile darkening this brown color. We actually eliminated those earlier leaves, so we have to make sure that those leaves comes again. So what I'm doing, I'm applying yellow color on the branches. Again. So now this looks a little natural. Keep on adding if the shaders quite dark, take some water. If mistakenly via, would color very dark, you want it to be laid, just take a little bit of ordering, apply on it. And kind of just a threaded. I just want this painting. We want, what we want the most in this painting is that lush, lush, Evergreen or you know, every yellow color of an autumn landscape of an autumn forest. So you should look larger, should look, you know, abundant. The leaves should be in abundance here. So see this is how the painting looks. And I just used the idea. You can do these kinds of things with your painting. It will help you to make a more natural looking autumn automobile, any string, any season painting. So let me show you again. And after this, we are going to do another major step which can be done now also, but we'll do it later. So let it dry now. 6. Final Details and Project Explained!: Now painting has dried. I decided to add bonds Sienna on the outer part of the leaves so that the leaves BOP out of the paper pulp out of phase and they look more natural like a leaf. So seriously, you can see how the leaves pop out of the surface. And in reality or didn't, leaves do have brown color around the edges. So this is step would have been done in previous lesson only when the leaves were vet, but now they have dried. So what I'm going to do, I'm going to do it in two ways. Just pick your brush and put water on the leaves. Then you are going to take burnt sienna color and apply it on the edge of the leaf. Just on the edge. And see how the color diffuses on its own. The only thing required is just you wait the leaf with water, then you allow burnt sienna color. On the edges of the leaf. Was shoe brush again. And what you can do, you can put it on all the leaves like this, or you can put on some part of the leaves water and then add burnt sienna. So see, I added water on that leaf and now I am making the edges. And this time I made it a little, you know, circular. So just see how I did how it looks. And now I just saw that the leaf was great. Dogs weighted vote on it. The bones sienna was very dark. So I just replay vote on it again. See, I made I made an edge of been Sienna. And this is diffusing very well. But if my, if my one seen as not diffusing very well, what I'll do, I'll just put water on it a little bit water so it will diffuse very easily. So keep on adding water on some part of the leaves. We don't want all the leaves to pop out. The Lizzy wants some of the leaves to pop out. And definitely they will be times when burnt sienna color, even after putting water earlier, doesn't diffuse very nicely. So see, like I'm doing I'm just adding water again on that part. So that burnt sienna kind of diffuses properly. Now again, I play water big symbol in Sienna and put it on the edges of the leaf. This helps in see how I'm doing. This Adamson making your leaf pop-out. And it looks more natural. I'm giving, I'm deliberately giving an sheep of circular or round shape. Ok, so now I've started working on the left part of the painting. Part of the leaves of the branch. So I decided board all together. You can do this. Great. Far says, well, this Edward altogether. And now what we're going to do, again, we're just going to pick up on sienna. And a start adding burnt sienna on the edges of the leaf. Certain actually disappears into the leaf. And we have an app, we have a beautiful popping out coming out leaf. No, I just felt that I can make out to part of leaf in air dry with a second, we're making burnt sienna introducing 1c and on the outer edge of the leaf, I'm doing the same dry. I'm doing veteran dry. These are all dried leaves and I'm just making our delay node 1c. And I know what I'm going to do. I'm going to add water now. Instead of applying it earlier, I applied one cnf first on the outer edge of the leaf, then I started adding water liter. So this is also an easy method for you if you want. You can do this. We just apply one z and on the outer part of the leaf. Okay, first you're just going to play the ones in the bulge on the edge of the leaf, then you are going to apply water on it so that burn CNN diffuses easily. So this is quite evident. Photo of the ways work. Either you first when the paper with water, then you add one sienna, or you can just add one Sienna on the edge of the leaf, then add water. Both ways work. It's your choice the way you want to do. So I find adding burn cnf first easier than adding water. This will save my time. And I will be able to paint leaves quite faster and I'll have a beautiful effect. So I started adding one cnf first, then I'm going to wash brush. Then just poured water on the leaves. Kind of rub it rather burnt sienna part so that it diffuses nicely with the lemon yellow. And you can do this in area ways like left but right, but S2 part of the painting. Just do it accordingly and see how lives are popping out. Now finally, this is such a simple, such an easy step, but so important trait. If he wouldn't have added, introduce bonds Sienna, on the edges of the leaves. They wouldn't have popped out that much. The painting would have looked still pretty because of the colors and just giving it disaster, giving an effect of tree. But it wouldn't have been this pretty, you know, the way the colors popping out now. So there are a few tricks that we can apply in printing. We should reserve pitches, be more creative and will get the V, will have an idea how to do it. Okay? So never worry, just use your creativity, use the techniques you have learned and apply those techniques on it. Now be careful, there will be times when the burnt sienna is not, you know, diffusing very well, you know. So again, we'll do the praise and apply plein, pure, clear water. And again rub it like I'm doing. Just do it. Since we have ported directly veteran drive, we have port one cnf directly on dry paper. It might it might have gotten absorbed on paper. So we need to do, we just need to add more and more water and rub it nicely with brush. See how I'm doing. Keep on adding water. If the lines are too sharp to dog. We don't want that right. We want to diffuse effect. These are very important steps, you know, when you have to stop in a painting venue, have innovation really stop in our painting at times to check whether we have left something or is it looking pleasant? Is it looking nice as you were expecting it to be? See this painting is a very loose interpretation of that reference picture. Rather do it realistically. Our aim is to do it in an impression form. Okay? This to give you the feeling of autumn landscape, leaves and trees. So I'm just adding more and more water. And i'm just checking the leaves wherever I find necessary. I'm just going to either put one CNN directly and then visit the people. Or I'll just read the people first and then apply one Sienna on the edges of the leaf. Just make sure that you apply burnt sienna on the edges of the BFS. Okay, that is very important. Don't put it on the center of the leaf, just on the edges. And for this gene sticker, very small brush so that you can do this detail part nicely. And again, if the lines are too sharp of buoyancy, Anna, what you will do, you will just take little bit water and rub their part. C, this is our kind of diffuser. This is basically the complete project. And this is how this painting looks. Now, are you seeing the popping out of the leaves, how they look popped out, right? If you feel like to add more yellow color, you can add at this point because this is the final detailing of your painting. You can increase, you can darken the branches again if you want. This is all of, these are just layering of color that you want. Now, if you want to change, you know, if you want to have different colors for autumn, like red, orange, a little bit of pink color. If you want these different colors for your painting, you can go for it. There's no harm in choosing the friend colors. Who leaves? How beautiful this painting looks, right? I choose yellow colors for leaves. You can go for orange, red, brown color, burnt sienna color, green color for your leaves. There is no harm. Whatever color that you find a new surroundings and whatever is your wish, you're free to do. This is going to be your project. And I shall be sharing with you the reference picture so that you can do it nicely. You can make the branches. Isn't it gorges. Thank you so much for watching this class and I would love if you can watch it and share your project with me, paint with me. Thank you. Bye.