Watercolor Pines | Kolbie Blume | Skillshare

Watercolor Pines

Kolbie Blume, Artist

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
16 Lessons (2h 13m)
    • 1. Intro

      1:34
    • 2. Materials

      7:30
    • 3. Warm Up

      7:17
    • 4. Pines: Method 1

      7:34
    • 5. Pines: Method 2

      8:48
    • 6. Pines: Method 3

      8:36
    • 7. Pines: Method 4

      6:09
    • 8. Pines: Method 5

      6:52
    • 9. Pines: Method 6

      4:56
    • 10. Pines: Method 7

      9:22
    • 11. Pines: Method 8

      13:51
    • 12. Depth + Color Value

      5:43
    • 13. Final Project: Layer 1

      9:53
    • 14. Final Project: Layer 2

      13:51
    • 15. Final Project: Layer 3

      18:22
    • 16. Recap

      2:55
16 students are watching this class

About This Class

Learn to paint loose watercolor pine trees using 8 easy-to-learn methods! With a variety of styles to choose from, you're sure to find your perfect way to paint a pine tree and create stunning forest paintings that would satisfy any wanderlusting soul.

Transcripts

1. Intro: Hi, My name is Colby, and I have a self taught watercolor artist who loves to paint wilderness scenes. If you've taken any of my classes before, you know how much I love to pay wilderness scenes. I have lots of classes on forests and different ways to create those techniques. And so today I wanted to talk. Instead of doing one specific landscape scene, I want to talk all about painting different kinds of trees and the different uses you can have for these trees and how to put them all together. One of my most common questions when I post videos to Instagram or when I post paintings is can you tell us how to paint all the different kinds of trees? And so in this class today, I've condensed all of my techniques that I have used and created by learning myself and watching other people do it and put it into I've put them into one jammed packed class where we go through lots of different painting techniques so that you can find the one that is perfect for you. And at the end of the class, we're going to paint together to create a landscape seen. It looks a little bit like this, with lots of different trees and hopefully something that sparks joy in your wanderlust ing heart. Um, I hope that you have a good time in this class. And if painting trees is something that sounds like right up your alley, then stick around and we'll see what you come up with. 2. Materials: before we get started. Let's do a quick video about what kind of materials you're going to need for this class. So obviously this is a watercolor class, and I'm going to be using professional grade watercolor. But I want to note that you can paint with anything and still create something beautiful. So, um, if the only water color paint you have a home is, you know, some $5 palette that you bought from Michael's totally cool, but these air the materials that I like to use. So I use a variety of different brands for watercolor. But the ones I'm using in this class today are Daniel Smith. I picked some pretty, um, dark Jewell Tony Foresti kind of colors today, the first burnt number for when we paint a little bit more realistically realistic. Pine trees and I also have lamp black parallel in green, which is like a dis really dark forest green and pains great, which is basically like navy blue. So these were the colors I'm going to be using today. This is again Daniel Smith. Extra fine watercolors hum. They're mostly in this palette. I have other brands of water colors in this problem, too. But the way that I get dispel it. The way that I put together this palette is by squeezing some of this watercolor into one of the wells, and then I let a dry for about a week before I use it. So that's paint. And I like to have the palace so that I can have a place to mix things. This is just a plastic pallet, but I also have some porcelain mixing pallets to that I porcelain. It is, ah, little bit smoother, and it doesn't stain. So, like if I were to wash off the paint off of this palette, you would still see some color stains. Porcelain pallets or plates or mixing trades are also nice tohave, though they're a little more expensive. Which is why, um, a lot of people use these plastic pilots. Next are paintbrushes for this class for painting pine trees. Mostly, I'm going to be using this round number zero brush. It's a very fine detailer brushes you can see it's very small, and this is a you tricked um, synthetic sable hairbrush, synthetic, meaning no animals were harmed in the process of creating this brush or any of the brushes here, for that matter. This is Siri's 2 to 8. You can recognize it by the black handle you tracked is a brand that often is carried in Blick stores. So if you buy art supplies from Blick art materials or if you go online to Blick, you'll be able to find this. It's one of my most favorite budget friendly, um, watercolor brushes, because the whole line is significantly less expensive than other, uh, paintbrushes. But they're also I have found to be a very similar quality. Teoh well known brands like Princeton, which are what these two brushes are. So Princeton is probably my very favorite brush maker, and, um, they can be a little bit more expensive than brushes like this, but not too bad. So I have around zero around three and around six, and I have all these different Brush size is just to show you that you can achieve some of these effects with different size brushes, though normally I will note that when I paint pine trees, I almost always use the zero brush. So, um, just real quick, then this is a Princeton round size three heritage. Siri's you could recognize the heritage Siri's by like the rich red would grainy kind of handle and the gold medal class peer. And then I also have Princeton Velvet Touch Siri's, which is the handle is, ah, little more soft in a more dark maroon kind of red. But both of these are synthetic sable hair. I would say the velvet touch is just a little stiffer than the heritage, so that covers brushes. Next, let's we want to paper while we practice. I always like to use student grade paper, which is a lot cheaper, and it's because it's made of wood pulp ah, to get a lot of more cheaper materials. So today I'm going to be using some of this cancer in Excel watercolor paper, always £140. Ah, if you do less than that on watercolor paper, it's OK, but it's going to warp more, so that's typically why I always go for £140 watercolor paper. So this cancer and watercolor papers what I'm going to be using for most of these tutorials , and then when we get to our final project, I'm going to be using some professional watercolor paper. This is a Blick premier watercolor block, also £140. You'll see, but instead of made of wood pulp, professional water, car papers made of 100% cotton, and that makes it more absorbent. And that helps make the colors more vibrant in my experience. So, um, but it's more expensive to make, so that's why it's a little bit. Ah, blocks like this are more expensive to purchase, and I only really use thes for final projects that I'm doing one final note between these two. This is clearly a notebook. As you can see, this is a watercolor block, which just means that all of the sheets of paper are glued or tapes together on all four sides. And then on one side there's this little opening where I can use a knife for some scissors to cut the sheet from the block once I'm done using it. This is particularly helpful because it keeps the paper talked, and one question I always get is how do I paint without making my paper warp? The answer is, you don't mostly, it's always going to warp honestly, in my experience, no matter how heavy of paper that I get it warps at least a little bit, So getting blocks like this helps to keep the paper taught and lessen warping. But if you don't have a block than painter's tape or masking tape or washing tape or any other tape that is nice to paper works really well, too. Keep your paper down on the table. So, um, while our painting pine trees, that won't be much as much of an issue because we're not going to do tons of like, broad washes. But that's helpful to know. So paintbrushes and paper are the most important things toe have. I always have a paper towel to wash off my brushes. I also always have two cups of water, one that I try to keep clean always so that I can have some clean water. And for this class that is about it. It's pretty simple. We're just gonna go through Ah, whole bunch of different ways to paint pine trees, so gather all the materials that you have and let's get going 3. Warm Up: all right. Before we start painting some pine trees, let's warm up our painting muscles a little bit and go over some techniques that are going to be useful in this class. So one warm up that I like to do when paint before painting pine trees is I'll take my zero brush, um, and practice going between thick and thin lines. And I want to see how thin you can get lines and how thick you can get them on. Do you do that by putting different amounts of pressure? Right? So if I were to put a lot of pressure on this brush and do like a horizontal stroke, I can get pretty thick for this tiny, teeny tiny brushstroke, right? So let's try that again very thick this time. Notice it's not a streaky. The difference here is that I had more water and my paint, um, on my pilot over here. So then it went a little bit further. Water control is also something to pay attention to, no matter what you're painting. But I've in this class, more important than water control is going to be, um, the pressure that you put on your brush OK, so that are those air. Assume high pressure strokes that we get from this size zero brush. And now put just a little bit of pressure to see how much different that is, like medium amount to see how different that is and now put very little pressure, like almost touching, like barely touching your paintbrush to the paper like put us least amount of pressure, as you possibly can, to get the thinnest line that you possibly can. Um, this the thin lines are trickier. 10 thicker lines because often in my experience, I have to hold the brush a little differently when I'm just painting like, not really carrying how six my lines are, how much pressure I'm using. Then I hold it more, um, at an angle and higher up on the handle. But when I need to get tons and tons of pressure, I find that I hold it closer to the brush. See, my fingers are like closer to the bristles and almost at this 180 degree angle perpendicular to the paper Teoh, just so I can have the most control over my paintbrush for this little teeny tiny one. Um, so Those were the grips that I've practiced and I have been comfortable with, as I've painted thousands of these pine trees. Um but if you warm up, then I'd recommend you testing out different kind of grips. Like, how much control are you gonna have over the paintbrush? If you if you hold at the very end of the handle, say, how much pressure can you, Um how much pressure can you use and how much pressure and what kind of angles air best? Is it best for you to go like this, Teoh? Do more of a perpendicular, Or is it best for you to do more of Ah, 45 degree angle here? Um, it really just depends because I know a lot of people who feel like they have more control when they hold it of higher like this. And that's not always the way it is for me. So Ah, those air, some warm up things that I'd recommend. You do not Onley with this zero brush, but also with whatever other size brushes that you have. So I'm just going to quickly demonstrate with my size three brush and then again with my size six brush because those were the ones that I'm using today. So I'm putting. I'm using my size three brush, and I'm putting a lot of pressure on my size three brush to see how much pressure, how far it will go. And now I'm going to put just like a medium amount of pressure on here, and then I'm gonna try to get as little pressure is possible. Now. It's important to note also when you're trying to get very thin lines, very, very thin lines. If you have too much water on your brush, it doesn't really matter how much pressure you put on there. It's going to look very thick or thicker than maybe you wanted to if there's so much water on there because though, if it's forming into a drop, then here all demonstrate by putting tons of water on here. So I put, I just barely dunked. I have paint on here, and I dumped my brush into the water cup, Um, but when I try to do just a little bit of pressure, it still comes out a little uneven and in droplets a little bit versus when I take off some of this water and just do some highly pigmented things, Um, or just pick up a lot of pigment and not tons of water. Then it's easier for me to maintain that very sin line. Okay, so that's something else that I would pay attention to. That's going to be important as we practice our pine trees because some of the pine trees we want, like big blobs off of paint strokes. But other times we want very thin, wispy kind of paint strokes with pretty precise and small stroke. So pressure is important. So just really quick. Here's my number six. That's was because I could go with my number six. That's like medium with my number six. And then I want the very tip only the very tip to touch the paper to see how thin I can go . One amazing thing you'll notice is that the sin line in all three of these brushes? I'll point them out to you. Here's a thin line on that one, then thin. This was number zero, right? This was number three, and this was number six. They all look very similar, even though we use different size brushes, and that is the difference between a professional grade watercolor brushes and student grade watercolor brushes. Typically, professional grade will always have its it. The breasts brush will maintain its shape a lot longer, then in student grade, which means that this little tip in the round size it always comes to a point so that you can do some detail work with whatever brush you use. So those were the warmups practice. Uh, pressure practice having different amounts of water on your brush. And when you feel sufficiently warmed up, then let's move on to painting all the different kinds of pine trees that were going to in this class. Can't wait to see what you come up with. 4. Pines: Method 1: Okay, So today we're going to go through mostly all of the different pine trees that I have come up with in my repertoire, including some cetera in previous class some that are in previous classes. And, um, this is just a good refresher in case you've already taken my misty forest class. But if not, then this is a deep dive into what I like to call the lines technique. I am actually an excellent wordsmith. So these names for the trees, as you can see, are high quality and very creative. Um, I'm being very sarcastic in case you can't, in case you can't tell. But I call this method the lines technique because in order to paint trees, uh, one waited One way to paint pine trees is by just creating a lot of different lines. So I'm painting the trunk. First up is always to paint the trunk. And by the way, don't worry. I'm going to go through all these steps. Um, a lot. It's more slowly after I paint the example for you. So I'm going Teoh First, I'm painting my tree trunk, which I is always just a very thin line for my pine trees and then starting from the top, leaving the tip a little bit open. Um, I'm just gonna paint a bunch of thes little lines across the trunk, and I'm gradually getting bigger and bigger to form the shape of my pine tree and notice that I'm not like creating a perfect triangle on my lines aren't perfectly straight. They're not perfectly straight across from the the tree trunk. I'm leaving little gaps in between. That's because nature is imperfectly so. Your pine trees should not look perfect. And that eyes a good thing for you because it means that you don't have to worry about being perfect. I'm going. I'm just doing one more layer because oftentimes, especially with this lines technique, that the tree trunk can stand out as like a stark line, even underneath all of the needles. And so sometimes, to alleviate that, I will just do a second layer and make sure with this layer to do some needles that are kind of pointing up or some that are pointing down to make it a little bit more crazy. So that's the lines technique. This is one of obviously one of those techniques where we want to use these very thin lines . Okay? Andi, I have painted many of these trees, and so you can see me going really fast and painting these lines really fast. And I think, um, this is something that trips a lot of people up because they feel like they can't go fast, but also create these really thin lines. So that Issa drill that you could practice? Um, one mistake. I don't want to say mistake, because honestly, anyway, that you decide you want to create some pine trees in watercolor that works for you is great with me. But for this technique that my method I like to have these very thin lines, not thick lines like this. I don't like that. Um, when I when I first started painting pine trees, I used to have thicker lines. And then I would wonder why I thought my pine trees looked a little off, and I realized it was because I like the thin, wispy ones more than I like theistic ones. But that said, if you decide that this is something that you like, you should go for it because art is all about you And how you see the world. Um, but for my version, for my technique, we want the thin, wispy lines. We also don't want them to be perfectly straight across you see how sometimes when you have these perfectly straight across lines, then it just looks a little stilted Or it looks a little more like geometric, I guess. Which again? If that's something you want, you should go for it. But I'm trying to create this, like, kind of wild and crazy. Look, that's still little abstract, but not quite as geometric looking as thes lines going across like this. So we don't want this. We don't want this. We do want this, and I'm gonna paint this ah, lines tree technique One more time for you this time Noticed that with this version I had, um, a little bit more full of a tree. This time I'm going to paint it. So it's a little bit more sparse just to show you sparse and uneven, just to show you that trees are not supposed to be perfect looking Christmas trees all the time. So I am doing a very thin line. I'm again leaving the tip of the trunk untouched. so that it can maintain that. Top that to be top point. And I saw him starting way lines just a little bit down. Ah, One thing to know is some people like to start their lines from the bottom so that they can more easily shape their trees. That's totally up to you, but I usually start from the top. So I am focusing on ah, with this lines technique creating a little bit more sparse needles on this tree. So and maybe a little uneven. Now, normally, I go, um, all the way across the tree trunk. But because I'm trying to create a little bit more of an uneven look with this lines technique, I'm going to alternate. Ah, some of these needles. But I don't want to alternate going straight out notice that I'm putting some of them at an angle. Some of them are straight out, but I Either way, I'm maintaining these lines, but I don't want them to look like perfectly straight lines. OK, so that is my lines technique version of a kind of sparse pine tree. Um, that sums up the lines technique right? There are so many different ways that you can go with this technique just using these straight lines and so you can paint trays like I've done or you can use lines in different ways Doesn't matter. Up to you. But this is, um, one technique, especially that I used in the beginning, because for some reason it was a lot easier for me to grasp painting the tree shape using these thin lines. So, just as an overview again, very thin lines, very little pressure, but a lot of them, and not always straight. Definitely not always straight, Definitely not always parallel. We want to have a little bit of chaos, a little bit of of wild in our in our nature scenes. So there's alliance technique. Give it a try and let's move on. 5. Pines: Method 2: next up, we have these would be technique. Now, I named this technique based on the shape of the needles, and it's called this will be technique. Because instead of using lines up here, I'm using very thin, like Nike swoops almost. So Looks like a check mark. Usually I start from the top and go down in very thin strokes like this on either side. Or you can start from the bottom and go up either way. Uh, just so you can see this in a bigger form. I'm basically making a like a curved line of the end like a cane and upside down Shepherd's cane crook. Um, but this this kind of swooping motion is how I'm shaping my pine needles. So, um, I will quickly demonstrate to you all in one go and then we'll break it down. So first I start with the very thin tree trunk and notice how I had lots of water and my paint this time. So even when I tried to do it very thin, it's coming out pretty thick. That's what happens when you have too much water on your paintbrush, especially if you have a size zero paintbrush It's really easy to get a lot of water on there, but that's OK, so I am just to drawing in the top. Little bit. Perfect. So I'm leaving this tiptop to be the tip top and starting a little bit down below and, ah, starting from the middle on going out, I am painting just a lot of these little swoops in fine detail. Notice how I'm going on one side and then the other side. And as the farther along that we go down, I'm not making my swoops any bigger. I'm gonna make. They're going to stay the same size because ultimately, these air trying to imitate the look of pine needles, right and pine needles don't get bigger. They're just more of them on branches, the bigger that the tree goes down. So the farther I go down, the more of them I'm putting even on top of each other. It's like I'm adding layers and layers of swoops. He's very thin. Um, the's very thin swoops, and so I want some of the needles to be appointing a little bit up toward the sky. This is a technique that creates kind of a more realistic pine tree and I went through Ah, a period where these were my favorite kind to paint. They can be therapeutic because you kind of have to focus on these details, but it the details Once you get it down, it's not super tricky. So one thing that I'm noting as I'm doing this pine tree is once I get to about 2/3 of the way down to in order to create the pine tree to make it look more full and three d kind of as opposed to just like a flat effect. I live to create kind of a skirt around the tree trunk with the swoop. So if I'm trying to, I'm trying to put perspective basically into this painting. And so on one side I'm starting with these, like traditional style swoops. But then, when I get closer to the middle there, pointing more down and almost straight, so it's kind of like they're starting to point at me, the you know, viewer of this pine tree, as opposed to on either side. And then once I get to the other side, I make them go the other way. So, um, the direction of those needles, then again should be to the side. Then a little bit more angled down and then a little bit more angled down the other way. Once we cross over this tree trunk and then to the side again. So using just lots of these little swoops, sometimes starting from the end of the soup and going in the middle, sometimes starting toward the middle on going to the end of the swoop. Either way, that is how you paint a tree using the swoopy technique. So the cautions of this tree are very similar to the lines technique where I would the way to get it very detailed and kind of swoopy like this is to create these pretty thin swoops as opposed to, like, really thick ones. Um, like, we're not looking for this, although that can be kind of a cool, you know, abstract, kind of looking pine tree up to you. But for this very specific technique Ah, this would be technique. I'm looking for very thin swoops like this, and I'm not making the soups any bigger as I go down the tree. That's important to note. I am making them. I'm just adding more layers on top of them. Now, we're not going over snow in this class that will be in a different class down the line. But I will say when you're doing the swoopy technique, um, it can be easier to leave in white spaces. Likas. You can see these white spaces over here that can look like snow, but just in general, you should leave. White space is when you do pine trees, because that makes them look more realistic. And especially with a swoopy technique, it lets you see the needles more. I let you Seymour of the details that you are so painstakingly trying to put in there as opposed to having it looks like one big blob. So before we move on, I'm gonna paint one more swoopy pine tree technique. But this time again, I'm going to do a sparse version. So I'm going to paint my my tree trunk. My very thin, especially the top. It needs to be thin tree trunk, and then I'm going to start painting my sloops. But I'm going to note that I want this tree to be a little bit more. Have a little more gaps in in it because, uh, many pine trees have gaps in them. In fact, most of them do. Hardly any of them are really like this kind of Christmas tree. Full pine tree shapes. So I'm not really starting out with a plan. I'm just thinking to myself. Okay, I'm gonna leave some gaps. Ah, one thing that is important toe doas Well, is you can make the gaps look even on both sides, or you can, um, really make it uneven on one side, because that's how trees are sometimes. So like, if I instead of adding more weight onto this side because I have tons of way over here If I just kept going the way that I'm going all the way down, that would work to notice how some of these swoops because I have so much water kind of turning into blobs. That's okay. That can look kind of cool to, uh, that we're gonna look at this in a different technique later on, but yeah, so this is like the swoopy technique with a little bit more sparse prime needles. Um, and you might also say to yourself What about those pine trees where you can see the trunk of it where the pine needles really stop About 2/3 of the way down. You can totally paint those two and I would work and it would look like a pine tree. Usually when I paint countries and silhouettes, I have to go all the way down to the bottom. But that's up to you. So this is the swoopy technique. Quick wrap up. We are practicing are very thin swoops. We are practicing, creating ah, more full effect at the bottom. Where are scoops are not getting bigger As we go, they are just multiplying. We're creating more like more and more layers of them. And not all swoopy trees need to look very full. Or even they can look, um, sparse and uneven, too. And those trees would be justice realistic. All right, so practice, this will be technique. And then when you're ready, let's move on 6. Pines: Method 3: next up is the blobby technique. As you can tell again, my Mr Wordsmithing skills just never fail me. I like to call this technique the blobby technique because we're going to create pine trees essentially by creating blobs on either side of your trunk. So I'll show you what I mean. Right now, similar to above, I'm going to start. I'm using my zero brush. I'm going to start by painting a very thin tree trunk, and I want to leave the top, the sinister I can get it m But instead of focusing on really, um, little pressure thin strokes, like the soupy technique in the lines technique, I'm gonna lean in to all the pressure. And that also means I want more water on my paint. And I I really want tohave Ah, lot of room to have the paint flow. So starting from the top, I'm going to start in the middle and just kind of push my paintbrush out a little bit and notice that when you try to push your paintbrush out, it's gonna come into kind of, ah, line like that. And so instead of just pushing it out for the specific technique instead of just pushing out it, pushing it out in a line, I'm gonna push it out and also bring it down just a little bit, or bring it up a little bit and want to create just different kinds of shapes. So I am, um, starting from the top and moving down. I don't want to just be triangles all the way down. And so if I if you look like if it looks like you're making the same kind of shape as you're moving down on this tree, then use your brush to also just kind of add in some depth to these blobs. So I am, um I'm gonna try to paint this a little faster because I usually paint these pretty quick. And, um, the less I found, the less stress you put on yourself to make thes blobby trees perfect. The more, uh, the cooler they look now, these air supposed to be abstract trees, right? So I am Ah, for these blobs. I'm mostly kind of pointing them down, but I'm not really paying attention to the direction that they're going in. So that's kind of the biggest difference between the blobby technique and other techniques were going toe learn later in this class that have a very similar method to the blobby technique but are slightly different. And so I'm gonna do that tree one more time for you. So I'm gonna paint this point this point tree using the trunk first leaving the tip top open and then starting from the middle. I'm just kind of painting. You can almost kind of think of the blobby technique as kind of like this will be technique , except you're using lots of pressure and you're letting up at the ends. Does that make sense? Um, and I'm not paying attention to where I'm going. I'm just kind of lobbying some paint on here. And something important to note about this technique also is the more you practice these, the better that you're going to get at them. This is one of the techniques that a lot of my students tell me You make it look so easy and it looks like painting pine trees is so easy. And then when I try it, it's so hard, and that's true. I think that my for your reference, my evolution of pine tree painting started with the lines technique. And then it went to the Scooby technique. And then I landed at the blobby technique. And that's why I'm teaching it in this order because that is just the way it made the most sense for me. So, um, one more time. The blobby technique is painting a very thin tree trunk and then painting blobs on either side. So I'm going Teoh. This time I'm going to paint a little bit more sparse of a blobby tree like we've done and the other ones and, uh, leaving some more spaces and just kind of making it a little bit more sparse of a tree in general. So I'm not honestly, I have no plan. When I go into these trees, I'm not going into it saying, Okay, I'm gonna put a tuft right here and some pine needles right here. I'm just kind of letting my paintbrush run wild and free, and I think that sometimes that takes practice. So this is a good technique to just kind of make your painting muscles be a little bit loose. Let go of the need to analyze every part of the tree to see exactly where you might need to add more things and, um, to let your brush strokes be a little bit more wild unless controlled. So one way to practice. If you're finding your trying these and you just like cannot, I cannot get the hang of it. One way to practice these blobs is to see the difference between when you paint a line like that, um, from the tree trunk versus when you like. If you try to make a fan shaped like that, or just like how you can move the brush in order to get different shapes. So I think that's probably the way that I learned how to do this. Best is by using in the same stroke, I'm starting from the middle and pushing my paintbrush out and just moving it to see different kinds of shapes I can create. And how those shapes might look like a pine needle like might look like a tuft of a pine tree when I put them all scaler. So this could be a good warm up, a good experiment practice session. It's also why I like to use to degrade paper when I do Pratt. When I practice things like this Because then it doesn't matter if I create something that's just like super gross, and I don't like it all. Ah, before we move on, I want to say I was using the number zero brush. But you can also use the number of a bigger brush. So I'm going to demonstrate how to do this with a six brush, which is the biggest of all the brushes that I pulled out today. But you can do it even bigger, depending on how big your tree is. So again, we know that the professional grade brushes have this tip. So I'm gonna put very little pressure so that I can get a thin tree trunk like I want using the tip of this paintbrush. And then with my number six, I'm gonna do the exact same thing. Um, but this I'm not using, like, all of the pressure like I did on the size zero, because my paintbrushes bigger, so I can it. Sometimes it allows for a little bit more. Um, you can get a little bit better blobs, I guess. This way. Uh, so it's a little bit easier to get the kind of blob shaped as opposed to a having to twist your paintbrush in different manners like we practiced over here. So that's the blobby technique. I recommend you practice it a lot. Don't get discouraged if it's not eggs. If it doesn't turn out exactly how you want. Obviously with a name like the blobby technique, this is not supposed to be an exact science. This is supposed to be, ah, loose representation of a pine tree with kind of loose blob like shapes. Right? So I'm not looking for perfection here. I'm not looking for perfection in any of thes. I'm just looking for, ah, shape that generally looks like a pine tree, and I believe that you can get there. So these were the three main techniques that I teach in my misty forest class and now the for the next Ah, for the next tutorials, we're going to go over other different kinds of trees are not in that class just techniques that I have developed over the years since I film side class. So I am so looking forward to jumping into these new styles and hope that you can get these ones down. So see you soon 7. Pines: Method 4: next up, we have the wispy technique. I went over this briefly if you took my watercolor wilderness blizzard class, but we're gonna go over it again. The wispy technique is pretty similar to the blobby technique, but instead of not paying any attention at all to where the blobs were going, we want to have the shape of the pine needles move upward in an upward motion. So this is probably more closely more accurately described as a combination of the blobby technique and thes swoopy techniques. So let me down straight. First, we're going to paints the tree trunk. Almost all these I'm painting the tree trunk is this very thin line. All of this section of loose, more abstract watercolor pine trees, um, have this very thin line for the trunk. And then I start a little bit down from the bottom and similar to the soupy technique. I start in the middle and I want to have a swoop that goes like in this direction but was similar to the blobby technique. I'm using a lot of pressure, so it's kind of like I'm making a blob and then making sure to flick my paintbrush just up a little bit so that it creates this kind of wispy pine needle at the end. So similar to the blobby technique, I don't necessarily want to pay like tons of attention, Um or like if if I'm paying too much attention or if I'm focusing too much on making it perfect is I'm not going to get the country effect that I'm looking for. Um, it's important to note that I can always go in at the end of its not quite pointy or so be enough and add in some detail work. And right now I just kind of want to focus on creating the's wispy blobs so that I can get this more upward facing country the way that I intended to be. So there is the wispy technique country, So let's for Let's break down this stroke again. So the blob, the blobby technique was more like painting different blobs in different directions like this, right? Whereas the wispy technique is more like starting from the middle and using lots of pressure and then pointing it up like that and we still want different shapes, we don't necessarily want it to be like if I were to paint, you know, perfect shape like that. We don't necessarily want it to look like that every time. Um, that kind of looks like a little whale, but we want it. We still want to have some irregularity to it. But ultimately, the thing that makes this the wispy technique, in my opinion, is by making sure that most of these blobs have a point that is pointing upward. So I would practice on both sides. I would practice this stroke starting from the middle on, going on both sides, and you seize, like, in this blobby stroke. The point is kind of more in the middle as a post at end. That's OK to, um, you the way to get thes strokes down pat is to just drill them into your head, practice them so that your hands have muscle memory. Um, and see if you can experiment to see if you can. If you like different shapes, better or worse or whatever. So once you feel like you've practiced those strokes, Teoh your heart's content, then you had put it together by I'll just do this wispy technique again on the son will do a little bit sparser like we've done in the past, so I'm going to focus on using this wispy technique. But I want to create a little bit sparser of a tree and see some of these turned into more blobby things. I'm just adding in some of the points at the end. Teoh make this more of the with this wispy technique that I'm looking for, adding in just some of these little points just like that. So that is the wispy technique very similar to the blobby technique. If you look at it and think, what's the difference? I don't blame you, Um, just one more time. The big difference, in my opinion, between the wispy technique and the blobby technique, is that I make sure that I have some of these that are always pointing up when I paint the this more abstract, wispy technique. Now it's also important to note that I in my painting developed this, uh, technique after the blobby technique, and so this in my mind. That's why they're slightly different, because I went from using the blobby technique and not really caring where my blobs were too slowly for some of my pine trees. wanting to make sure that the needles were pointing up in some kind of direction because some pine trees really do kind of swooped down like this, right? But other ones point up like that. And so I wanted to find a hybrid where I could still do these, um, this more abstract kind of pine tree shape, but still maintain the true nature of having some of the pine needles be pointing up. So that's the evolution of this wispy technique. And I encourage you to practice it and see, uh, what you can come up with and what version of it you like. The very best. So that's the wispy technique, and now let us move on. 8. Pines: Method 5: next, we have a technique that leans into the idea that pine trees are made of multiple different needles. So I think the closest represent eight. The closest when we've done so far to this idea is the swoopy technique. But instead of painting swoops, we're going to use dots, essentially, hence the name dotted technique. To add in those details, I'm gonna show you exactly how right now. So first I'm going to paint the tree trunk. Very familiar practice for you. Or at least it should be right now and then starting from the a little bit down from the top. I'm going to paint a branch, losing a little bit of pressure and making it kind of an uneven branch of here. And then I'm going, Teoh, just use just dot some texture around that branch. Now this branch is a little bit bigger than I anticipated, So I'm going to extend the trunk up a little bit and put in a smaller branch like that. That's a trick that I have. Sometimes when I accidentally make my branches to Big, um then I just extend the trunk. But your branches can be too big at the top. Some trees were like that. So it's fine. So just once again, I'm going to I'm gonna do this on every side. All the way down is drawing this little trunk using this little branch using a little bit of pressure and then using little dots, they can be thin or blobby or whatever. I'm just kind of creating detail around this branch. So before I go down the tree, I'm gonna show you a bigger version. Eso I am say the trunk is like right here. I am using my paintbrush to create this kind of gnarled branch. And I don't necessarily want to be all one thickness or look like a perfectly straight line because again, we're painting nature. But once I've created this branch that I'm going Teoh with paint and my paintbrush just put some dots on either side, both at the bottom and at the top of this branch, and that is going to create the effect that this branch has needles on it. So, um, it's still not exactly realistic. Obviously, it's a little its. Most of these trees are in the loose cat loose watercolor category, which means that they are loose representations of what these things look like in nature. But adding these little dots just makes the detail a little bit more stark. So important to note is that you could do it on. You could do it similar to how I did it here, where you haven't even amount on the top and the bottom, or if you painted on a gnarled trunk like this. Also noticed that when I paint thes when I paint these branches, I have the outwork, most outward part of the branch pretty thin and the middle pretty thick. Ah, and the branch that's sticking out of the trunk. It's a little bit thick to the most important thing is that this is thinner, the one that's pointing outward. It's dinner than the rest. Um, but back to the dots, you can paint dots so they're more heavier on the bottom like this, and that would be fine or on the top. So here's my trunk again. I mean, no, my trunk, my branch. And I'm just gonna paint some of these dots along the top few along the bottom, but not many, and I'm going to make sure that iced can still see the tip of this branch. So that's what it looks like. Bigger. Now I'm gonna go back to this smaller tree and continue painting, Um, my branches. So I have this branch and now I'm just kind of dotting it out. And it's also important for the integrity of the wildness of this tree to note that your branches can be pointing like directly outward, or they could be pointing slightly up or slightly down. You can, if you want, make them symmetrical. Not all trees look like that. So I don't know that I would recommend doing that, but that's a choice that you have if you want. Um, I like Teoh, as we've seen, make my trees a little bit more wild and not quite symmetrical. So I'm gonna try to do that. And sometimes when it comes to trees and keeping them not symmetrical, I have to consciously tell myself or consciously put in some elements that will make it not quite as even as my mind wants to make it. So that's what's happening right now. I'm just creating these branches and then putting some dots around it Teoh out in the detail from the pine needles. And maybe this is one where I'll show you. You can stop and so that you can still see the trunk. Because sometimes trees do that. They don't go all the way down to the bottom. Right. Um, so I'm just gonna quickly repaint this trunk again, make the trunk a little bit thicker at the bottom, but still going thin once I get to the middle. See how it's kind of like those air routes right there. Usually if you're gonna paint a tree so that you can see the trunk, I would also paint, um, just little branches at the bottom that look like their roots like that. So it's kind of like hit domes into this little mini triangle, and I'm just gonna do couple more smaller branches like that, and I'm gonna call that good. So that's the dotted technique where the branches stop about 2/3 down from the trunk and so that you can see the trunk and the biggest difference between any of the other techniques and this technique is just the amount of detail you're putting into the dots around the branches. So practiced this technique, See, if you like it see if there are different ways that you can experiment with it and let's move on to the next version. 9. Pines: Method 6: next up. We have what I like to call the spear technique, and I like to call it that. Because remember how we talked about how pine needles sometimes point down, sometimes point up sometimes went sideways. Will. The spear technique is leading into the fact that they are pointing up. But instead of the wispy technique where we have kind of where we did like a version of the blobby where we had thes spikes at the end, we're just gonna lean into the whole angled pine needle idea, so I'll show you exactly what I mean. Ah, One thing to note, a lot of artists I've seen do this technique using a pen. So sometimes this is an easier technique to use if you have, like, a micron pen and you're trying to draw on your painting like that. But I'm gonna use it with a paintbrush because this is a watercolor class. So Ah, we start with the small tree trunk and then starting from the top, we just draw these little angled lines in Bunches and notice how I'm using somethin. My thin lines. Maybe you could maybe getting sicker toward the middle, but I I definitely want to see some of these thin details in my clumps, because that is what makes this look most like a pine tree is when you can see the needles . But I'm pointing all of my lines upward. Notice how my lines are not necessarily like straight lines like that. They're they're a little that swooped. Um, so in that way, it's kind of like this will be technique, but in different direction. But they're not quite a super Mississippi technique. It's more like they're just bent a little bit, um, angled a little bit towards the tree trunk. So, um, also important to remember that it's, um, okay to be a little bit sparse. No, always have, um, very full trees. We don't want them to look super even, but yeah, And then as you get to the bottom, you can kind of even it out a little bit. But mostly that is thespian techniques. So I'm gonna show it to you one more time using and before I do that, just show you the in bigger version, a bigger scale, the brushstrokes that I'm using. So I'm basically like creating I call it the spear technique because I feel like they are spikes or spears that air, like pointing upward and pointing outwards, so there's the rationale behind that. So I am just like in clumps painting lines that are pointing upward like this. And for the most part, I'm starting out and then going toward the trunk like this. But you can start in the middle and go up if you want. That could work to whatever feels more comfortable for you. Ultimately, the most important thing is that we get the basics ape shape of the tree, with the needles pointing outward and upward instead of down and angled in gold's down. So one more time on this one will do it a little sparser, some starting a little bit toward the top, paying attention to the fact that I want these thin lines. But I also don't want the tree to have thons and terms of needles, because I want this one to be a little sparse, and that is okay. But I'm still getting bigger towards the bottom, and there is my sparse looking spear technique pine tree. So practice this technique. This is when I don't use very often, but I know that this version is, ah, technique that a lot of people use, and a lot of its I think, that it can look really nice as well. So that's the spear technique thin lines that are pointing upward instead of pointing down . Or instead of pointing across or like, swooped down like we've had in the past. They're all just pointing upward and coming out of the pine tree like that, so practice that technique and then let's move on to the next one. 10. Pines: Method 7: This is our last more abstract, more more abstract pine tree technique for the kinds of pine tree shapes that I like to use a silhouettes or in off like a big forest of lots of different pine trees. And then the final final technique that we're going to learn is had a little bit more to do with shading, and it's slightly more realistic. But forget to that this is called the Spy NDLEA technique, and I say it's categorized in the loose, more abstract kind of pine tree category. But a lot of trees actually look like this. So, um, that said, I call it the Spine DLLee technique because it varies from the other pine tree techniques in that the needles the branches that we're going to paint are a little bit more spine Glee . I don't know any other way to describe it. Look a little more thin, a little more crooked, but not quite a stint as the lines technique. Um, and I'm gonna show you what I mean. So with the Spine Lee technique, I'm drawing the my tree trunk right here and similar to the dotted technique. We're going to paint thes lines starting from the trunk and kind of moving out and making sure that the branches are pointed at the end. But instead of the dotted technique. So I guess you could say that like, this is this would be the daughter technique without all of the dots. It's kind of like a combination of the dotted technique and the blobby technique, actually. So instead of painting dots alongside, I'm just gonna leave that trunk the way that it is. So I want my branch to be pointy right there, and I want it to be thicker in the middle as it gets to the trunk, and we're just going to keep going down the line, doing this on either side. So it's not quite like this will be technique, because I'll show you in a bigger version. I'm painting ah, branches that look more like their thick in the middle and then thin at the end. And the way that I like to do it is by starting in the middle and pushing my paintbrush. But you could also start at the end with the thin and then push to create some pressure and then end up at the trunk Either way, both of those will be fine. But we're creating very imperfectly shaped branches like that and ending with a point. This is also different from the wispy technique, because the wispy technique is a little bit more free flowing a little bit more, Um, just kind of moving your paintbrush in big blobs wherever it's going. But this one called the spinal technique because we do want the branches. We do want the branches to maintain a shape that looks very similar to this. So it's on the more realistic side, but still categorized in this loose in this loose kind of, um, watercolor technique, in my opinion. So we're just going to do this on either side, either starting in the middle from the trunk or starting at the edge and moving towards the middle like that. Either way, um, the key here is that if it's more in the trunk, we want to be thicker and then more pointed and thin. When we get to the end of the branch, that's pointing upward. So I'm just going to keep keep moving like this, and you can do like I'm doing right now where it looks like these two sides are meeting in the middle. Or we can dio one side that, um, doesn't quite meet to the other side and have them be a little bit off. And that is okay too. Um, in fact, you should have probably a mix of both, but this is what I'm gonna do. Some of my branches I'm gonna have jutting out from the trunk. Some of them I'm gonna have starting from where my other branch was and kind of swooping down a little bit. And then maybe even some of these branches I'm going to house since find leads that come out from the branch itself as opposed to just on the trunk. Um, outing. Little variations like this is going to make it the most realistic of all of the of all of the trees that were painting today. This is one that will probably take the most time because it does take a little bit more, um, detail work. Although I had still encourage you not to focus on this being perfect because again, nature is not perfect. So it's OK if not all of your branches look exactly the way that you were hoping them to, ah, similar to the other trees. The dotted technique, especially some of these branches, should be pointing upward like this, and some of them should be pointing to the side. And something could even be point people. You'd be pointing down like that, and that's okay, too. And adding this little adding that variation is what makes it look like a pine tree. So I'm also going to kind of leave, um, this side open a little bit before I add more weight here, and I'm going to go all the way down. But it's up to you whether you want to go all the way down or stop 2/3 of the way in order to maintain that tree trunk kind of look. So, um, that is the spinal technique where we create these kind of They almost kind of look like leaves, right? Like this could look like a stock of leaves, but it's not. It's a pine tree, and it's leaning into the crooked branch shape. But we still kind of want to maintain this loose, realistic version of what these branches would look like. So that is the spinal technique. Let's do one more that will take a little bit less time because I'm gonna make more of an effort to have a be slightly sparser. So I am just making sure that I have a point at the end there and starting from the top and adding some branches in along the way. I some of these are not quite as pointed as I was hoping. That's because I have too much water on my paintbrush. So again, if you find you're trying to make points, very fine tips and it's just not working, it's likely because you don't have that's likely because you have too much water and you need to use less water and more pigment. So knowing that that's why I'm focusing on here and I don't have, I really don't have much of a Reimer reason, except that I know I want to create this to be a little bit more sparse, so that means moving further down on the paper and it means not carrying. If I need to add more weight somewhere and just kind of going with the flow and making sure that some of these branches jet outward, some of them jet down some of them just outward upward so that I can maintain that diversity. Um, and thats we'll see what I'm doing. So for here, I think I'm going to do another one where it kind of stops like that. And so I'm painting a trunk, remember? That's what I do when I want it to, um, kind of show the trunk a little bit. I picked the trunk and then I'm going to stop my branches right there. And that's a more sparse version of the spine DLLee technique. So practice that one and let's move on to our final tree tutorial, which is going to be a more realistic using shading and focusing on the tree trunk and using different colors. This is gonna be the Onley. The next one is going to be the Onley tutorial that has, like, um, is trying to be a little bit more realistic in the loose watercolor room. All right, let's move on 11. Pines: Method 8: Okay, This is our final tree tutorial. And then we're going to use these trees in order to create our final project. But before we get to our final project, let's talk about the most realistic of the trees that were painting today. And that is the shaded techniques. So I'm going to show you before I show you I'm going to kind of break this down. Where before, For all of these trees, we used basically the same color. Ah, and all of the techniques that we've learned so far are trees that would be really good for silhouettes or if you're painting like a big forest full of trees. But this technique, each tree is gonna take a little bit longer. And we're going to use different colors and try to focus on the different aspects of the tree. So first things first, I'm going to draw the trunk, and I'm using my size zero brush, and I'm going to draw the trunk using, um, my burnt number brown color. So first I'm going to start at the bottom notice. Remember that, trunks when we are trying to draw the trunk so that you can see it, we want to draw, um, the roots. And so I'm going to start with some paint, but then also use my water along with the pain too diluted so that it's not quite so. I want to create some shading here, so I'm just moving the paint around and leaving some white spots. And now I am going to, um, using my brush paint this trunk all the way up, knowing that we want the tip of the trunk to still be like a tip top. Right, So this is going to be the tip of the trunk that is gonna show. But then we want this trunk to gradually move down and, um, into the, um the trunk we have with the roots. So this is going to look your trees going to look a little bit like this where we're drawing the trunk to be thicker and then getting thinner and thinner and thinner until it's just one line of the top like that. And now I'm going to paint in some like, kind of wood grain effects. Ah, and the way that I do that really loosely is by putting down some pigment and ah, some paints just in some swatches like this, and then I have washed off all of my pigment. And now, using just water, I'm going to, um, kind of paint the rest of that in, but leaving some white space, leaving some of these dark spaces in the pigment. It's still a little bit abstract looking. Okay, so there's part of my tree trunk. Next, we're going to draw the branches using burnt umber. Still. So the trick here is we're not going to draw the branches, like all the way out. We're really just going to draw them jutting out from the trunk a little bit. So I'm just going to draw. Once we've drawn in the branches, we're gonna draw the pine needles around it still loose, kind of like in blobs, but in blobs of green. I'm going to show you what I mean, but this is how I'm painting. Um, this shaded technique is I draw on the branches using my zero brush Some of these branches , we're gonna get out and have more branches like that and they're going to get a little bit bigger. Is I move toward the bottom? They can be more pigmented or not. it doesn't really matter at this point, Um but that he is We're gonna stop, like, right here with the leaves with the pine with the pine needles, and so we still want this one to be kind of big. But then as we go down to the bottom, I'm still gonna leave a little bit of branches that are jutting out from this trunk because oftentimes with trunks, you see little tiny branches jutting out from them, right? So that's what I'm doing. And okay, so there's my tree trunk. Basically, we've created a skeleton of the tree that we're trying to paint ultimately. So before I move on to the leaves, I'm just gonna draw a little bit of the ground here just so I can kind of get a little bit more anchored. And again, I have put some brown pigment. And then I put some water down so that I could move the brown pigment that already exists, and I'm leaving some white space, and then I'm just gonna put in a little bit of green at the bottom just to show that there's some maybe some moss or some greenery growing along down here as Well, so Okay, I'm gonna leave that the way that it is. And now most of this should have had a chance to dry mostly. But if it hasn't, that's okay. The brown can run into our green on. That will be just fine. So now I am going to draw. I'm going to paint rather our ah tree using a lighter value of green. So I'm using peril in green here to paint all of our tree, but instead of, um but I want to paint our branch are branches and two layers, basically, And so to do that, I'm creating a lighter color value of this parallel in green so that I can have the bottom layer be lighter on the top layer. Be darker because I'm going to use the top layer that's darker in order to add some shading elements. So but first, the lighter layer is this lighter color value of green. The way that you get lighter color values is by adding more water to it. So this is very watery, and now I'm just going to, like, basically paint some blobs on top of these branches, and it doesn't have to be on Lee on the branches. It can be elsewhere on the tree to, But I'm just kind of filling in this skeleton that we created for ourselves with this lighter color value of green. And I'm just kind of dotting along using the blobby technique, using kind of like the dotted technique where I'm just filling in these leaves here along these branches, leaving some spaces as well. But for the most part, using the skeleton that I have created, Teoh paint some leaves on top of this. So I'm just as you can tell, I'm not really paying attention exactly where the leaves were going. I am noticing, though that a lot of my lines a lot of my leaves have come out in lines. I don't necessarily want them to be all lines, so I might just have some texture appear. But even if it is, that's OK, but I want some of it to go up and down all around to create different a variation, a variety. So now that we've come to these big branches, this is where it was supposed to stop, right? So I'm just gonna kind of peter off, maybe have some of these branches. Don't here have some pine needles on them? Uh, that's OK, but I'm for the big branches. I'm gonna peter off right here. So? So that it We can see still the trunk that we that we left at the very beginning. So now I'm just gonna While this is still wet, I'm just gonna look around here and see if there are any spots that I kind of want to fill in, knowing that once this is dry, we're going to add in the darker value of that parallel in green that we have. So even before it's dry, Actually, I think I'm going to add just a few spots of dark, not all the way around, but using the wet on wet technique, just adding a few dark spots here and there so that it blends in a little bit better with, uh, with the light green that we've put on here. And the next step is to wait for this to dry. So check on the next video, and we will do part two of this technique, and it's gonna be awesome. So see you then. All right, so this is dry. And now, before we put down on a paint. I'm just gonna do a quick evil of what our result is. I've noticed that the top of our trunk seems to have disappeared. So I'm just going to add in a little bit more a very thin line of brown up here so that we can still maintain that tiptop of our trunk. And now, with the darker color value of parallel in green, I'm going to add in some shading now the key with adding and shading part. It's not just put it all over the tree, right. It's to put it in very specific places. So by very specific places, really, what I mean is not we want it in chunks over the tree, but we don't want it everywhere. Mostly I'm gonna put some of the shaded parts near the trunk. I might put some of them elsewhere, but near the trunk is usually a safe bet for parts of the tree. Or like near the branches that have different shaded, um, different shaded pine needles. So I'm just kind of going at it and adding this shading. I'm also gonna add some of the ends I said, mostly near the trunk, but honestly, like towards the bottom anywhere that you might find some kind of different. Um, shadow are we're really just adding depth to this tree, right? By adding differently darker, shaded spots, we're showing that it's not just, um, this one color that there are lots of different spots and light, please, with these pine needles in different ways. So I am just adding some shading here, maybe a little bit on these pine needles down here where the branches are. And mostly I'm gonna call that good. I don't want to add too much again, because if I add too much, then is overpowering and you can't see any of the light underneath. And that's not the point in my ad, just a tiny thing like right there. Yeah, and, um, there's definitely a point where you have gone too far. You have done too much, and that's okay if you get that point, because, honestly, again, this is loose watercolor. It's not supposed to look exactly perfect. Nature is not supposed to look exactly perfect, but I often find that less is more on your painting nature like this, and if you spend too much time on it, then you could be ended a result that you don't like a much. So, um, with that in mind, I'm going to call that good for the shaded techniques. So to wrap up, to create this kind of more realistic in the way that we use different colors and focused on more the skeleton of the tree. Um, this more realistic technique. We started with the trunk by forming the trunk that waas eso it's sticker at the bottom and then moves upward and gets very thin at the top. So we still have that tip top of the pine tree. And then we painted like the skeleton of the tree, using the brown again just to paint some branches in different ways and in a variety random kind of random kind of ways. But we didn't use the branches to create the whole trunk. Just we didn't use brown to create the whole branches, just the, um, parts you can see coming out of the trunk. And then we put in one layer of light green. I used Caroline Green here, which is like a dark forest green, and I put a lot of water and to create this light color value for the first layer, and then once that dried, we put in just of a darker value of green, um, some spots where it looks like they are different colors and shaded. And that's how we created this loose watercolor pine tree that has a little bit more depth to it that would be on the foreground of a painting as opposed to the background. Remember that, because that is exactly the technique that we're going to be using in our final project. All of the trees that we painted before this one are great for background trees and are also great for silhouette trees. Um, and so we're going to use ah, bunch of the trees. We've learned how to paint in the background, and then we're going to paint a few of thes foreground trees in the front for our final project. So let's get started 12. Depth + Color Value: all right. Before we start our final project, I quickly want to go over to really important topics that we're going to utilize in our final project. The first is talking about how to create depth with lots of trees, and the second has applies to that. Are witches talking about color value? I've mentioned color value before in this class and in other classes, but basically color value is the lightness or darkness of a color in its purest form. So that means you're not adding white or black or grey or something else to make a color, um, lighter or darker because adding black or white or gray would actually change the structural makeup of that color. Instead, you are just essentially drawing out the pigment so that there is more of it to go around or outing and more pigment so that it's more dense. So the way that we change color value with watercolor is by adding water. So if I were to take some of this parallel in green in its in a very dense pigment form, it would be very dark right and you can already see is pretty, like creamy and, um not very watery. Doesn't have to add water to make it a little bit more liquidy. Okay, so that's like a very stick. Um, dark value of this parallel in green. And in order to make it lighter on my palette here, I'm just adding more water to it. And that will get me a lighter version of this parallel in green. So what does this have to do with depth? If you've taken my misty forest class or my wilderness Blizter blizzard class, you know that the farther something away is the lighter value it has. So in order to create that kind of misty, the forest is really far away and hard to see kind of effect. We are playing around with different color values, meaning we're playing around with how light the paint is that we used to paint different layers. So in order for this to work with the our final project, which is going to be painting three layers of trees, the 1st 2 layers are going to be the more abstract, loose kind of styles that we practiced. I believe that there are seven of those styles. Ah, the 1st 2 layers are going to be those and in the the the third layer of our final project is going to be the more realistic, shaded version of our trees. So but, um, just as, ah, as an overview Ah, sneak preview. Um, and the way that we utilize this depth technique this depth effect in this, um, idea of building different layers of trees is by making sure that the first layer we paint is the lightest because that's the layer that's going to be the farthest away right? So if I just paint really quickly a tree in this really light color, then what would happen after I paint this layer of light trees is I'm going Teoh, Either pick a darker color for the layer that goes on top of this or add more paint, more pigment to this place on my palette. That makes a darker value. And then I'm just going to place normally odd way for this to be completely dry. But for right now, I'm just gonna for the sake of showing you, then the layer on top, the darker layer would be on top of the lighter layer. And that creates the effect that these layers thes trees in the background are farther away than the ones in the foreground. So that's the most important rule to remember as we go forward with our final project that the farther away something is the lighter it is in value on the closer. Something is, if especially if it's in silhouette form, the darker it is in value. So you would start with light and then move forward with dark. And that's it. That's the rule that I want you to remember. So we're going Teoh, remember that. And if you feel like you want to practice your trees a little bit more before we get started, then go ahead and do that. You can. Also knowing that we're gonna be painting three layers on the 1st 2 are going to be one are going to be an assortment of the seven different kind of abstract trees that we learned to paint, and then the last layer is going to be a couple of the more realistic shaded kind of trees . Then you can choose which trees you want. Right now, you don't have to paint all seven or all eight of the Persians that we learned you can decide what ones you want, and that's totally up to you. But now is a good time to decide that, because in just a minute we're going to get started painting our first layers. So without further ado, let's get going. 13. Final Project: Layer 1: Here we are, Layer one of our final project. Now, as we talked about, we're gonna do three layers of trees on this final project to create kind of like a tree landscape painting. Although we're not gonna add a ton of other elements except for these trees. So, um, first things first, decide which trees you want to paint. I This is like a little practice scrap paper that I have practiced some of my some of my trees on or you can pick up, um, the scrap paper, the papers that you used to paint some of these trees, pull them out and decide, um, and decide which ones that you want to focus on. If you want to focus on only a few of them or if you want to focus on all of them, then decide now. Ah, the first layer is going to be one of the 1st 7 that we painted. So for my first layer, I'm gonna paint ah, few of the 1st 3 Um, so that would be the lines technique, the soupy technique and the blobby technique. Now, the key here is that we're going to use a light color value for this layer like we talked about, because we know that it's going to be in the background. And I'm not going to utilize for this piece. I'm not going to utilize, like, put some of the trees up here and smaller. I'm also gonna put them in the same kind of space just because that's a different look than going for today. But you decided what's best for you. So I'm pulling out, um, one of my porcelain mixing pallets just to pull out the color value that I want. So I am taking some of this green. I want really light color values here, taking some of the screen. And then I'm also going to take some of my Payne's gray, which it says gray. But it's really like dark Navy blue. And this also some black over here, and I'm just putting these on my palette. And then I'm gonna add water to them, lots of water to these guys to create just some, like little mini spots of this lighter. The's later values that I want. Okay, so I'm adding water and making sure not making sure that they don't mix together, and now I'm going to start painting some trees. So I'm gonna do the swoopy Ah, combination of the swoopy the lines and blobby trees in the background over here. So I'm gonna paint them to be about Yeah, I'm just going to kind of go with the flow here. So I'm gonna do a lines tree here in this light color value on, and I know that it doesn't have to be super filled with needles. It can look pretty sparse, have so holes in the middle just like that And then just to kind of give show that there's a little bit of ground I'm gonna paint again with this light color value on water. I mostly using water here. Actually, I was gonna paint a little bit of the ground like this. And that's where I will continue to paint some of these other trees. So I don't always have to use the same color in one tree because this is still kind of like an abstract kind of painting, right? So I'm just kind of I've painted these very quickly, I think did a lot of these, so I can paint them pretty quickly, but you go at your own pace for this first layer. Do a little swoopy technique here into that ground over there and maybe another lines right here. It's very little. I paint some bigger ones elsewhere, so I'm gonna paint kind of like a a sporadic tree line like this. So it's more ground over here. I put some pigment down, some just putting more water to bring the ground over here. I'm still leaving some white space, but this is just to kind of create a loose ground effect so that my trees aren't just kind of floating in space, although that can look fun to. So I'm gonna go for a swoopy technique. Here again, you can go slower than may. You didn't have to move this fast. Um, I just have painted a lot of these trees so I could move a little bit faster. But I will say that when I do move faster, I can't get as much detail. So these trees were the ones that maybe don't need as much detail. But when you get to the other ones like the dotted technique or finally technique, you might want to slow down a little bit for that. I'm also making sure to do different sizes here just because trees and trees and forests especially come in all different shapes and sizes. So that's important to remember. Different sizes, different shapes, not super even spacing. Extend the ground you and more over here. And so it's not exactly in a straight line. There's some bumps and curves. I'm using a combo of my paint brush with paint and water to spread whatever existing pigment already have around to spread out this ground and leaving white space. And I'm not really thinking about where leaving the white stories. I just No, I'm like, kind of moving my brush around and not doing a whole big wash while I'm painting thes different kinds of trees so we'll do another lines over here started off in blue. Maybe add some gray because thes are abstract in the background, kinds off shadowed like trees that can have some color. But for the most part, where when we start painting or other trees, some of these were going to get covered up, so we mostly just want to career. There's like the effect that there's a shadow over here. That's what these trees therefore, to create depth and to show that there's a shadow of a tree in the background. If you've taken my misty forest class, you know that another way to create like that there is a blurry, shadowy tree in the background is by using the wet on wet technique in order to create kind of a blurry, shadowy effect that can be really fun to. But this isn't so much like a misty forest that we're trying to create, as I mean, it is like a misty forest. But since we're focusing on trees in this class, then I think it's more important to focus on the techniques of the trees, then is to focus on the misty techniques because I have a class relapse. So if you're interested in learning more about that, I would recommend you take that class is well, there will be some of the same content in that class is in this one. But I also made them slightly different on purpose so that they would be interesting for everybody. So we're just about done with this layer. I'm just going to add one more little clump over here. I'm gonna stop it about right there So let's just extend the ground out a little bit more like we've done before and notice how I'm just like again. I'm just like moving my brush kind of randomly throughout to create this ground like effect . And if that comes on naturally to you, if you feel like I just need to know exactly where everything is and have control, then it's OK to practice, not having control. It's OK again. That's why I like scraps of paper and practicing these techniques on paper, I don't 14. Final Project: Layer 2: All right, So this hour layer one has now has now dried and so we're going to do layer two and moving on with the different trees that we focused on. I'm going to dio layer to with the rest of the four different trees that we learned. So the spear technique, the wispy technique, the dotted technique and the spine glee technique. I'm gonna kind of layer in all in this second layer. Um, so first things first, I'm gonna look at these colors that I've put into this pilot over here. Some of them have mixed together like the green, the Paynes grey. That's okay. So I'm just gonna add a little bit more color. And I want the's what? This layer to be darker than my previous layer, but not the darkest that it could be. So I'm adding a little more green color here, and I'm gonna add a little more blue to my palette and then a little more black, but I still want them to be pretty watery. We're not, like, super watery, but enough watery that it's not the darkest that thes color values can be, but enough so that it's definitely darker than the layer that they're in right now. And it's okay if you don't mix enough of the color value that you want. You can always make more. It doesn't have to be exactly the same shade as all of the trees have been before. So the first thing I'm gonna do is similar to what we did before is create a little bit more ground first and again, this should be just slightly darker than it was before. So here's a little bit of ground with the wet with I'm pushing it around with water, and now I'm going to paint some trees just with these darker values that I have. So I'm gonna go for maybe a wispy tree right here, making sure that my branches are pointing up. And, um, I'm also want to be careful not to completely paint over all of these trees. It's OK if you paint over some of them, but not all of them, because we want most of them to still be showing right. So now I'm gonna do Ah spear, I think just ah, little spear one right here. As a good rule of thumb, if you're painting these layers of different trees on top of each other than try to keep some, um, diverse sizes as well. So you can see the tall ones behind. Um, because it would be a shame to have gone through all the work to paint all these trees and then have all of them covered off just by different layers that you're doing. So let's do maybe another wispy tree right here. I've so far, I've done the spear and wispy, and that's pretty good. No, just this little wispy one. Okay, I'm gonna I'm gonna move the ground a little bit forward, Adam, some texture here, leave some white space and, uh, continue painting. And I think this time I'm gonna do, like, see how there's this space right here. I think I'm gonna do a dotted one right here. So this one takes a little bit more, adding some dots, making sure that these branches air different sizes. Remember that the dotted technique takes a little bit more time than others. And that's okay. The's tree paintings don't have to. Um I often do hyper labs videos, and they go by a lot faster that in the videos than they actually do in real life. So that's something that's really important to remember when you're painting these. If you want to paint, it's important not to spend like too much time trying to get the trees all exactly right. But also, it's important to remember that sometimes it does take. Sometimes I'm gonna leave this trunk a little more open and just leave that tree like that . That's I'm gonna call that. Good. Now, I want some of these to be just a little darker, so I'm gonna add a little bit more pigment and work on a was a tree right here and then move the ground a little bit. I'm gonna move this the ground over here a little bit down because these are different layers of trees and maybe I'll do a spinal E one right here. Make a big, tall spine, Lee one kind of in the middle of this layer over here and not really paying attention much to where the branches are. Just making this up as I go, because that's my favorite way to do trees. Otherwise, I spend way too much time focusing on how perfect they look and they end up looking not like trees in nature. So that's why I do it like this. Um, but notice how cool the trees look when they're darker and you can see other trees behind them. I just think this depth effect is so cool, and that's really what makes wilderness paintings. Uh, it really gives them the the depth and the feeling that we're all kind of searching for. One more painting, wilderness styles like that. So I'm just gonna extend a few of these branches a little bit. That's good. Okay, some of this is still we want this. We want our ground to be a little bit wet. Still, if possible. Just so notice how the colors air, blending into it a little bit better, but it's okay if it's dried. Also, Um, that's really what the second layer is gonna be just continuing to paint with the different versions of trees that we know. So maybe I'm gonna do another kind of spear here. Maybe this one will be more like a combination of spear and spined lee. No, I think that's fun to do, too, if you have. And that's how I came up with all these different combinations. actually is by kind of naming the specific technique that I used and then experimenting to see how I could, how differently I could make that technique. Um, and how I could just alter it in slight ways to make the trees look slightly different than what they than what they were before. And it's one of my favorite ways to create diversity when I'm painting these forests. So we're in a paint, another little wispy one right here. And then I'm going to extend the ground again and think Do ah dotted one pretty soon over here. So I'm just extending the ground. Notice how I'm going back and forth Sometimes I'm picking up pigment sometimes of picking up water. I've said that so many times, but it's important to know on in leaving some white space over here, so I'm gonna do another dotted one. I need to add a little bit more blue over here and yeah, I'm gonna do, I think, overlap. This tree so overlaps history, but I still kind of want to see this one. So maybe all Just keep that in mind that I know that I want to see I want to still see this tree right there. Mystery. Think I'm going to make on purpose with the dotted technique a little more uneven, unbalanced in terms of weight and where the branches are just so I can have that difference in nature that so often exists. Have one branch. That's kind of like jutting out, Not nearly as many on this side. I think that looks gonna cool. Just kind of dotting it. Maybe add a little more weight here, but yeah, Looks kinda cool. Okay, so this is this is what I'm doing for layer two going back and forth between these different techniques that we practice and doing more full spear technique here and notice how in this one I'm not paying as much attention to the white space between the needles and so it really just kind of looks like a big blob of tree. But that's OK for this specific layer. So I'm gonna re wet this ground over here and the movie. I'm gonna leave this spot kind of blank and Onley do some trees over here. I don't have to do trees all the way across. No rule that says that in fact, sometimes it looks cool. One, it's not. So I'm spreading the water just a little bit more, and I think I'll dio at a little bit more black to this. I think I'll do a wispy tree right here. Notice how, when I leave it wet in the black just kind of blends in with the ground one at a little bit more green also, and maybe another wispy tree right here. Not always exactly the same. And let's do a spy ndlea tree over here. I love practicing these different trees. It's pretty therapeutic. It's also interesting for me to just talk. I can tell you my thoughts as I'm as I'm painting these trees because it helps me to understand what I'm thinking about painting as well. So hope it's fun for you. I hope you're enjoying this class and listening to me just kind of ramble on about what I'm thinking while I'm painting. Um, so I'm almost done with this finally tree on, and I'm gonna be jotted down a little bit like that and maybe just add another little tree right in the middle. Right there. I think I'm gonna call that layer. Good. Okay. So that is layer to. And now for layer three in the next video. After this is dry. Now we're gonna paint just a couple. I think of our shaded trees and we're gonna put them. I'm not gonna put them right in the middle. I'm probably gonna put them somewhere off to the side. But they're definitely going to be darker, and they're gonna be a little closer to us, and it's gonna be awesome. So let's move on to lay or three. 15. Final Project: Layer 3: Okay, So we are on our final layer of our little forest peas where we are practicing all different kinds of the trees that we learned in this class and for our last layer, we're going to practice the shaded technique, which is this still kind of abstract loose technique. But we have more color, and it looks a little more realistic than a lot of these more silhouette e kind of pine trees that we've been practicing. So when I do the foreground trees, especially if I know that they're going to be bigger, um, I generally picks. Umm, I generally don't put them smack dab in the middle. They can look pretty cool if you want it like just a tree that's right in the middle. But I like things that are a little bit more off kilter, and I also, like for the foreground toe have not nearly as many trees as in the background layers. So I'm probably gonna paint three of the shaded technique trees, and I think I'm gonna paint like, ah, big one right here and maybe a little one next to it, and in a medium one over somewhere over here, so That's kind of what I'm looking at. Whenever I do composition, I never I'm like I hardly ever plan it ahead of time, which maybe makes me a poor artist, but that's what I do. But what I what does happen is I look to see where might be a good fit, and I and one thing that I might pay attention to is which trees do I want for sure want to be seen once everything is all said and done, um, so one thing for me, I think I like this tree a lot. I really want to this tree to be seen at least partially. And I think I still want this gap right here. And maybe this gap right here to be seen at least partially. So with that in mind, instead of my size zero brush, I'm moving to my size three brush to begin painting the trunk just like we practiced. I'm gonna do the big one first. This so I'm gonna do a big in a small one right over here. And then I'm going to dio a like medium sized one over here. So the most important thing when we're practicing this first layer to note is that we want to use the darkest colors that we can when we're painting on top of this layer so that we cover up so that the paint doesn't show behind what? What? Trees are behind as much as possible, and I'll show you what I mean. So but first I'm gonna put this ground like this trunk, like, right here, okay? And that is going to be the basis of me trunk. Before I move forward and finishing the trunk, I'm just gonna dry out the ground a little bit. And this time we're not going to spread the ground all the way across. We're just going to show what the ground looks like right by the base of these trees. So I'm making it a little bit brown, this burnt number. But I'm also gonna add in some green just to show some of this more. Would it kind of feel okay? And this is just like X abstract playing with colors. Mostly it's not anything but that I decided in particular beforehand. So there is that trunk. And now I want I know that I want the tip of my trunk of my tree to be somewhere like this , Like right here. Okay, so I'm just gonna draw this trunk so that it gets up there. We might be covering some trees that we already created. It's OK if you don't have a different it's okay if you cover up some trees and it's also okay, if this is not a straight line, as mine clearly is not it's a little tilted, but I kind of like that, actually. So I'm making sure Here's my Here's my trunk. And now I'm just gonna paint it in, okay? And because I know I also know that I want some of these trees to show, um, some of the background trees to She'll show that I don't want this tree to be a particularly full tree. I want to be a little sparse, so knowing that I'm not gonna paint is money. I can paint more branches, but I'm not gonna pay as many, um leaves or pine needles on the branches when I get to that part. But the most important part about these branches right now is that you're using a pretty dark brown so that they definitely cover the trees that are supposed to be behind them. So I'm just kind of moving up painting these branches, and I think I'm going to stop, like, right there. Okay, so there is the skeleton of my tree, and now I'm going to paint a lot using a lighter color value. But note that my light color values actually going to be probably about the value of the colors that we used in layer to because we want the darkest color value to probably be the darkest that these colors can be on this time, instead of using both green and blue and black, I'm going to use, I think, only green. So I'm just going to start painting in some of these trees. Some of these pine needles that I know I wanted knowing that I still want I'm gonna add in darker and a bit. But I also want, um to show still the trees behind it. So I'm not gonna put anything right here making sure to put stuff on the trunk, though I'm just dotting filling in the space, leaving some things open. And like here, I might leave just that whole that whole thing open wide. But then have a big franch right here. Okay, maybe some just little tendrils of branches coming down here. There. That's the first layer of my make This a little bit less of flake. Yeah. So it comes down just a little bit more to give it a little bit more shape. Okay, so that's the first layer of that tree. I kept this one open, and now I'm going Teoh, do the smaller tree. And then the benefit of doing these one doing like the first layer of the trees is that this will probably be dry by the time I get Teoh. By the time I finished painting all the rest of them. So I'm gonna paint smaller tree right here, and I'm gonna have the tip of that one. Maybe. And right here. Okay. So now I'm gonna do the same thing. Painting in the trunk, painting the skeleton off the tree, making it a little more sparse. Just so more of the trees behind it can be shown, especially this one that I know. I wanted to be kind of cool if I had, like, a bigger ish branch coming out over here. That kind of covers it that could be cool. So maybe we're going to go with that. But I'm just gonna can Is my thought process moving? Like, What do you think would be cool? I don't know. Let's try. Um, okay. Before we go on, though, I'm gonna extend this the ground for this tree a little bit more. Not too much. Starting a little green there were going to call that. Good. Okay, so now, time to add in the first layer of pine leaves on these shaded trees. And it's okay if it kind of blends in with this other tree that's already wept. It's okay if the leaves blend in with the trunk. Because ultimately, this is still loose. Watercolor. We're not going for, like, picture perfect here. If you want picture perfect is not the class for you. And also recommend you should take a picture because, um, I I like painting a lot because you can just kind of have fun and not have to worry about making an exact replicate replication. Okay, so there's that. Okay, now, one more. I think I'm gonna have it. I wanted most of this to stay this like middle, but I think I'm gonna have that my tree jet a little bit in the middle like that. So what's put the tip I want I want it to be a medium size. So not as biggest, this one, but not as small as this one. So I'm gonna put that tip maybe, like, right here. So it's just barely above this tree, but not quite as tall. Is that one? So Okay, let's paint this trunk down, and we're gonna have the trunk be like right here, I think Sure went up on. And maybe this is about when it starts to get thicker and thinner. Here you go. Sure we're not. That looks good to me. Okay, so now we're gonna paint the ground around it, adding some green acquitted with the other one using water over here to really dilute it so that it's not just, like, pure color so that it looks a little Mr Cole, because that's my favorite thing to do with watercolor and water. It's to make them look a little mystical. Okay, so I made that ground a little different. A little bit more up in your face. But that's OK. And now the skeleton so I know that I want to keep this face a little bit open. It would be cool, I think toe have, like maybe one branch that veers into it. So I'm gonna pay attention to that as I'm painting this skeleton. So maybe have some bigger branches over here when we're up here. But then when we're in this center, maybe one big branch I know reaches out to, like, over here. That would be That'll be pretty cool, I think. Okay. And then just a little Knowles little branches jutting out from the bottom of the trunk. Okay, I think this is mostly good to go. So here we go. Painting a lot of thes trees to, I think, helps take once you've painted a lot of them knowing that eventually they're going to look how you want them to, or you can never exactly get them to look how you want them to. It is good practice for mindfulness. And it's good practice for, um, letting loose. I think that's been a major theme from this class that I've talked about is just like you have toe not care so much about having it be perfect because It's never, ever going to be perfect, but that's what makes it beautiful. And that's what makes life beautiful, too. I think is being human means being in perfect essentially. And if we're going to be the best humans that we can be, we really need to let go of that tendencies toward perfection and embrace life as Thean perfect wonder that it iss and that's what makes it. That's what's going to make our life more happy. I think that's what's made my life happy when I can do that. So don't let my ramblings I'm just finishing painting off this tree, and now it looks like over here, most of this is dried. So I am going to pick up the darkest version of this pearly in green that I can just add in some more shading. Maybe underneath in the trunk a little over here, and this is the last thing that I'm going to do on all of these foreground trees. It's just add in some of this depth to the trees and again, I'm not really paying too close of attention to where they are, except that I'm not putting depth everywhere, making, making sure to leave some of these lights spaces and it's OK if these two tree start to blend together. If you're not really sure where one starts and one begins because often trees are like that . And then this one still pretty wet. But I'm just gonna go ahead and add in some of this dark anyway, just so we can finish this up. Ideally, you would wait for this to dry. But I want to finish off this video so that I can see all of you are beautiful final pieces . Okay. And there you go. There is my final project for this pine tree painting fest that we have embarked upon today . So I hope you had a good time. I hope you learned a lot. And I hope that you found at least one or two versions of these trees that you really loved and that you would love to keep practicing. I would love to see all of your final projects and I would love Teoh. Just connect with you whether on skill share on Instagram. Ah, If you post your final project in the project gallery, then that's a great place to comment on other people and to see what other people came up with and also helps other people see my class and, uh, in the future. So if you really enjoyed this process, please post your project to the Project Gallery and also feel free to post it to instagram and tag me. My handle is this writing desk. I'm gonna go through all this again in my recap video. But for now, I just want to say thanks for painting with me and I hope to see you again soon. 16. Recap: Thank you so much for taking this class with me. I had such a great time putting together all of the different tree painting techniques that I have honed and learned and developed over the years. And I hope that you have come out of this class with at least three or four that you really love and hope to develop more in your arsenal. If you painted along with us today, then you will have something that looks like this. It might look familiar. It's in the recap video. This is the final project that we did today, incorporating all eight of the trees that we learned about, uh, painting. And if you decide that any of these techniques are not for you, that is totally fine, because that's the point of a class like this toe. Learn how to paint lots of different kinds of things so that you can really find the one that's that speaks to you and that you can speak through. Um, now, if you really enjoyed this class, the best way that you can help me is by leaving the review so I would encourage you if you had a good time and you want to let me know? Please tell me and everybody else what you loved about this class and give it a thumbs up. Um, I would also love to see your work and a couple different ways you can show me are one posting it to the Project Gallery. Posting your final projects of the project gallery is another way for more people to see this class. And it helps you build more of a community in skill share because then everybody who follows you can see what you post, and it's just a really great time. So I encourage you to post your final project to the Project gallery. If you decide that you want to share a little bit wider spread, feel free to post on instagram and tag me. My handle is this writing desk, and I would love to be your biggest cheerleader, leave you some comments, um, and just generally help you feel supported in this art community. Um, and as a bonus, I usually do features of all of my all of the skill share of product projects from the past month. I try to do that at least a couple times a month. So if you attack me on instagram, then you might be featured in my instagram stories. Um, last thing. If you have any questions, please feel free to post wanted us to the community discussion board. And I will be sure to take a look and answer any questions or comment on anything that you might be concerned with in this class. Um, and just once again, thank you so much for joining me. I had such a great relaxing time filming this class and going through all the different kinds of trees that I like. And I hope that you had a great time to so see you next time.