Watercolor Travel Sketchbook: Master key watercolor techniques for painting nature | Anastasia Novikova | Skillshare

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Watercolor Travel Sketchbook: Master key watercolor techniques for painting nature

teacher avatar Anastasia Novikova, Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (54m)
    • 1. Introduction

      0:47
    • 2. Materials you will need

      1:34
    • 3. Painting sky

      4:18
    • 4. Painting water

      4:48
    • 5. Practice sketch - sea bay

      10:50
    • 6. Painting greenery

      9:17
    • 7. Practice sketch - greenery

      13:09
    • 8. Painting mountains

      2:25
    • 9. Practice sketch - mountains

      6:00
    • 10. Final thoughts

      0:25
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568

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6

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About This Class

In this class students will learn different ways to sketch nature and natural objects with watercolor:

  • Sky
  • Clouds
  • Sunrise/sunset
  • Sunshine
  • Sea
  • Still water (lake, creek, river, etc.)
  • Trees
  • Bushes
  • Flowers
  • Mountains and far backgrounds.

This class will contain a lot of useful information for those who want to use watercolor as a medium for their travel sketches. We will go over the main painting techniques for each subject.. And then we will make 3 sketches to practice what we learned. Class project will consist of these practice sketches.

The class will be suitable for students who have already had some practice with watercolor and/or sketching (intermediate level).

Meet Your Teacher

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Anastasia Novikova

Artist

Teacher

Hello, I'm Anastasia.

I’m a self-taught artist based in Moscow, Russia. Watercolor has been my favorite medium for the past years, I love working with it to create realistic-style paintings and sketches.

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Transcripts

1. Introduction: Hi, everyone. My name is anesthesia and I welcome you to my glass series called Watercolor Travel Sketchbook. In this class, I will show you ways to paint nature in your watercourse. Catches will go over main approaches to sketching different natural objects and watercolor , and I'll demonstrate some beautiful, ineffective techniques for painting nature like sky sunset, water, greenery and so on. And together we will pay in three separate sketches to practice each topic. So you will feel more confident in your own watercolor work later on. See you in class. 2. Materials you will need: cereals you will need. You should have some good watercolor paper. I suggest using 100% cotton paper for your sketches. In case you can't find 100% cotton, get the best watercolor paper you confined. It really does make a difference. You can use the sketchbook or have a separate sheet of paper taped to a wooden board with paper tape lake. So have some additional simple watercolor paper for drafts and practice a couple of soft wrong brushes. A brush with a sharp tip, some flat brushes, a fluffy brush. I use an old calligraphy brush and a soft large brush for wedding. The paper, paper tape, water, watercolor paint. Here's any pain to have in twos or in dry cakes. A palette for color mixing. I use this one. Just make sure the one you uses white. You may even use a white plate, some pencils and eraser, and I use a liner for my sketches, but it's not mandatory. If you do use a liner, make sure it's very thin. Minus 0.1 millimeters Soft white crayon. Also optional and paper towels 3. Painting sky: blue sky show blue sky on watercolor What your paper and make a smooth radiant with colors like follow blue, cobalt blue and ultra marine. I use a mix of follow blue and ultra marine blue sky looks darker in the top and lighter at the horizon. You can make your adjustments while the paper is still wet, but once it starts to dry, it's better to leave everything as as it is. Otherwise, you will end up with color drips that will ruin your radiant light clouds. What a paper again and repeat the same process we did with the blue sky but leaving out the clouds white. Remember about the Grady int and make the top of your sky a little darker. He will look more realistic. Heavy clouds when the paper and repeat previous steps, then you some great color. I like to use neutral tint or to make some cadmium orange and ultra marine. Then, while the paper is still what I add these shades to the bottom of my clouds, make sure you Onley work on wet paper for the sky because it is usually the background of your sketches. You wanted to be soft and light, so it doesn't take up all of the attention from the main subject of your sketch. So no dry, hard edges for the clouds, sunset and sunrise at sunset and sunrise. This guy can be very colorful. There are any strict rules on what color Follow what. Each sunset is very different. You will paint the colors that you see as an artist, but here's what you should keep in mind. If you use bright yellow and red blue together, they will mix to green, and we never see green and sky. So to go around that green effect either use ingredient to go from bright yellow to orange to pink and then to blue. Or you can use colors like cadmium orange or Naples yellow. With ultra Marine. They shouldn't makes to green, but either way, you should test your colors first before you paint to paint the sunset. You same technique. As for the blue sky what the paper and paint the Grady int that you see on your reference. I'm mixing some Naples yellow and red Kinnock, Redon and Ultra Marine on top. But again, the sky can me and you color at sunset and sunrise. That's the beauty of it. Sometimes was he read until blue at the bottom or just shades of orange and so on? I make all of the adjustments while the paper is still wet. To show the clouds, you can make some darker shades like Harry makes mainly purple and cadmium orange, the clouds air usually dark when this when the sun is so low. So you just add them on while the paper is still what? Here's what the dry watercolor is going to look like for all of these techniques. 4. Painting water: water. I'll show you three main techniques that I use for the water, and you can use them separately or combined them together for your own sketches. As you need on the first picture, I will pain some waves and reflections. So say there's a horizon and some rocks in the front and even a dry tree bridge. On the second picture, I want to show some line bouncing off of the water. So here's a horizon and some sailboats far away. On the third picture, I want to show still water, so we'll have some hills in the back and they will be reflected in the still water. So I make a very light sky and let it dry. For the second part, I go around the sailboats to leave them white. If there's a color smudge, I can take it out with a paper towel. The third picture will have a sunset sky, so I makes mainly red Kinnock redone and purple to make my ingredient from pink to purple. The first part is dry, so I go on to the water with waves. I want the area where the water is going to be, and I make some turquoise, fallow blue and ultra marine, and I start from the top. Water is lighter at the back, and then colors intensify as we move closer. Then I take summoned ego, and since I work, went on what? I drive the brush over paper towel so I don't get too much water on my sketch and make these waves. The closer they are, the darker and wider, the further they are, the lighter and thinner they get. Now we wait for everything to dry. Second picture, I want to show sunlight. For this part. I will work dry and dry. I makes turquoise with fallow blue, and I make the brush very dry over a paper towel. I make these flat brush strokes to show son ripples in the water. For the bottom part, I make a color wash and paint some light waves again. Like so still water, I draw the hill and wait for everything to dry completely. Don't start new quality washes while your paper is not completely dry like here. My color started to run because this guy wasn't drying off yet. I'm just make some forest out of it for now. While his dries Let's go into the first part and pain. Some reflections. So here's Iraq. I just painted with neutral tint and why about some of the color with dem brush while the paint is still wet and a small dry tree branch. To make the reflections take a sharp pointed brush and start making these its exact movements, I use indeed go color for the reflections. The reflections can be a lot longer than the object, so I pain them almost to the bottom of the picture. The second picture is done, so I go to the 3rd 1 with still water. The top is a draw, I know, so I can wet the bottom part with the clean brush. I put some Scotch tape under my boat, so there's a little tent and the water will be moving down. It's important for their reflections in this case here, the water is like a mirror, so I just repeat the same colors as we see above, making them a little darker or more intense. Same thing with the hill. Now you take a flat brush or a flat diagonal brush what it in clean water and dried over the paper towel And then, while the paint is still wet, start wiping off these horizontal lines like so it's important for them to be straight and horizontal, not tilted to the side. That's all for the water. Let's go on to painting our first sketch to learn how to combine these techniques. 5. Practice sketch - sea bay: Here's a photo I took in a beautiful sea bay, and my Yorkis pain, I think, will be a good way to practice guy and water techniques. You'll find the photo reference in the projects and resource is section of the class or simply make a screenshot. Now you can watch me sketch the whole thing and then repeat all the steps yourself or you can sketch along with me. But don't forget that the video is speeded up, So pause the video with each step and work at your own pace. Also, if you prefer to practice on other pictures, I've created a couple of Pinterest boards for you guys with beautiful photos that will be great for practicing what we're learning here. You'll find a link to them in the projects, and resource is section as well. And of course, you're free to use your own vacation photos for the practice sketches. Okay, let's start. So to start, I covered the size of my schedule with paper tape. I'll work on wet paper, and I don't want the color leaking on other pages. I use a liner in my sketches, but if you don't feel too confident with the liner yet use a pencil so you can make corrections more easily. I make a straight line for the horizon and draw the outline off the heels on the shore. Now the boats there at the horizon almost and the second side of the shore. And I hit the reflections for myself with the liner as well. I showed some footprints on the sand and the water line in the front, but very light. Just a hint for myself again. I don't want these lines showing over the watercolor later on. Okay, now we go onto the watercolor. So here are the colors I want to use for this guy. A violet. Follow blue cerulean blue. Read Kinnock Redon for the sand. I'll mix burnt sienna and connected own. Maybe add some cadmium orange, and I will add neutral tint and violet in the shadows over the sand. You may use the same colors to find something similar indeed. Go for the hills and the water will be still and reflect the colors from the sky. It will be a little darker and have a little turquoise 10 to it. Here I'm mixing in the colors. I've already named to see how they will mix with the turquoise, the hills, the sand. I want to make sure they don't look dirty together and that I don't have any new unexpected colors forming from the mixes. So I read the paper. In this case, I will let the whole page and make one first color wash altogether. So I makes violets and follow blue, and then some can Astrodome. I don't worry about going over the land. It will be a lot darker anyway. The colors for this guy have to be very soft and light. Then I had to really on blue, and the water will reflect the colors from the above. I fold the paper towel and sharp corner and take out the color from where the boats are. Since they're white, I don't see that much violet reflected in the water. It looks more to recourse to me. So I had the Torquay's tent to my violet mix and make the rest of the collar wash again. I make the grade Ian. As I see it, there aren't any strict rules for the color pattern in sunset. At the end, I add the's soft waves by the shore. Then I go to the sand. It's a little reddish, so I makes burnt sienna and red connect Redon. While the paper is still wet. I add dark reflections with Indy ego from the land on both sides and again I take out the paint where the boats are. Then I wipe out white horizontal lines on the water with a flat brush. I take out a little paint with a damn brush from the sides. Brother Landers with the sharp tip off a small brush, I make the reflections off the pole and take out the pain from where the reflections air white. Here, I tried to take our the paint with a damn brush, but my paper is already ill to dry, so I got these colors smudges. I'm trying to correct the color wash, and it's not looking very good for now. That's why it's important to stop. Once your paper starts to dry, I see that my skies already dry, so I start with these trees on the land. I take a fluffy brush. I haven't old calligraphy brush for this, and with dark and ego color, I go over the top of the hill with these irregular movements to imitate the trees. I leave some empty space because there's a gap between trees on the reference and I like outlooks. Then I add some more water and connect the breast shows together. It's important to have one connected scene of paint. Then your sketch will look more expressive. You don't want your pain to dry and to have many different brush strokes in watercolor. That doesn't look very good, but we will talk more about that in the next topic with greenery. So I'm not adding colors to the land. I don't want it to take the attention off the sea and the sky. I just made these overflows of darker and lighter and ego. It's enough for the ire of the viewer to see the forest on the hell there. Same exact thing for the other side, but I go around the boat carefully with a sharp tip off a smaller brush, and again I connect the breast drugs together, so I have one stain of paint where the land is on the left. At the bottom, there's a very dark line by the water line. I show some shadows off the boats on the left side with a small brush and lightly correct the reflections. Accordingly. I see that my reflection of the hell in the water has dried out and became much lighter. That happens with cotton paper. It eats up the color. Sometimes this is a good case to use dry and dry technique that have previously showed for the sunlight. So I take the anti go paint and I dry out the brush over the paper towel and start making his light horizontal strokes. Now I show some waves by the shore with light blue. Here I use some neutral tint to show the prince on the sand. And again, I keep in mind that the sand is one part of the painting, so one stain of paint, the brush Stokes have to be connected. Then I show some shadows of the waves on the sand where the water is deeper. I use the mix of light and ego for the weeks I see that the sand is not dark enough. If you look at the picture, you will notice that the sand is one of the darkest part of the paintings, so I have to make it even darker. I went the whole area and add more color neutral tint bread connect for Doan and Burnt Sienna. And here's how the finals drives catch looks like. 6. Painting greenery: greenery. One of the most important thing about painting realistic greenery sketches is choosing the right tints of green. Say we have green color like emerald green. If I want to show part of my plant in the light and part in the shadow, I can just use one color and make it like a lighter with water or more intense with less water. In order for it to look realistic, I have to use different tints of green make warm and cold contrast like of their son. Then my object is going to look warmer and the light and colder in the shadow. So to the sunny part, I would add yellow and to the part in the shadow. I would add dark blue in this case, my favorite and ego. Well, let's go on to different techniques. I want to draw a tree in the field so I feel the sky and wait for everything to dry. The second example is going to be a door with flowers around it. So I wait for the sky to dry on the first example with the tree, and then for the leaves. I will take a round brush or a fluffy calligraphy brush. Now we make these random movements, turning the brush in different directions. But connecting the breast jokes into one uneven stain. Not separate brush Stokes, but one stain of paint. And then I can add some indeed, go to show that parts of the leaves are in shadow, and then I can show the wrenches upholding the leaves. So with the yellowish green, I draw the leaves and add indeed, go to show the shadow. I draw the trunk of the tree with some neutral tint on top. The color is dark because it's in the shadow of the leaves, and I had burnt sienna at the bottom. Same thing with ingress. It's yellowish where the sunlight is, and dark and ego, where the shadow from the tree is. Also the grass doesn't have to be evenly green unless it's a freshly trimmed lawn. We can add different stains of dr Color, so the sketch looks more realistic. With a sharp tip of the brush. I add some ranges. They have to be peeking out of green leaves. Don't draw them from the trunk. Flowers for the door and flowers. I went the paper, take some red can acrid own on a round brush, and I started hitting the paper in random directions, even creating some drops on purpose. Then I take a more intense color and put it in a swell. Here I'll show the ground with light brown. Once the paper is dry, I start painting the door. So here there the light is coming from this side. That and this part of the door will be in shadow. I taken Diego and started playing brush strokes at the edge in different directions, as if I'm trying dark leaves. And then I wait for everything to dry. Then I connect them together, and I had water to make the same edge on the other side, but with a lighter color. Now, to show the shadows off the flowers, I take anti go and mix it with the rat conducted own to get this dark violet like in the tree, the shadow of different flowers will be connected together, and that's usually enough to show flowers or green leaves and sketches. This way, plants will quite expressive, and you don't need too much details in them. Let me finish the stairs and the door so you see what I mean? Like so, I also want to show you another very fast and easy technique for drawing flowers. It can be used when you want to paint flowers and grass, especially of their lighter than grass. Perfect for daisies, dandelions and other wild flowers. Say I have some grass here on the side and some daisies in between, so I take a soft white crayon. If you have other flowers off other light colors, you may use a Korean of that color and I draw these white pedals. I can barely see it now on Lee. If I change the angle from which I'm looking at the paper and that's fine, just make sure you're pressing in the crayon hard enough so it won't let the water get on the paper underneath. Now I take the bright grass green and they paying these long strokes to show the grass. See how the crown is not letting the color get on paper, and I haven't. You go to show the shadow in the grass. I make some splashes to make the sketch look more spontaneous, and if I want to add some other colors without Krantz, I can take some color out while the paint is wet. I use a dry paper towel for this, and then I add red right away, like so. Once the paper starts to dry, I take a small rush and draw awesome stems for the flowers and show a couple of more shadows. Sunlight through leaves. This is a technique for showing sunlight shining through leaves or other objects, and it looks very nice on sketches. Say we have a forest. There are some trees here and there I would the paper and draw a yellow circle around my son. The sunlight itself will be just white, and then I had some green. And then, with a clean, damp brush, I wipe out thes rays of sunlight washing the brush each time I do this, and that's the first layer. Now it has to dry. Once the paper is dry, I mix some paint for these trees, burnt sienna and neutral gray for their branches and some yellow and green for the leaves. So I repeat the same brush strokes as I showed for the trees where the sun is. I paint with yellow and then when I start reaching the edge I use more and more green, right by the edge I use only indeed, go. The key here is to have a lot of contrast in the leaves, yellow by the sun and dark and ego at the edge. The same for the tree trunks and branches. Light brown by the sunlight and very dark grey, almost black at the bottom and on the sides and right where the sunlight is, your wrenches will be interrupted. The role of light is just left white again. Make sure you edges are as dark as possible. Then the magic happens and you see sunlight instead of white paper. So here is how these demo paintings look like when the paint is dry and the paper tape is off. Now let's go on to second practice sketch. 7. Practice sketch - greenery: let's practice these techniques In a sketch during my last vacation, I took a picture of this beautiful house. It had all these flowers growing on the walls and at the bottom and by by the steps. And I love how the there's a tree nearby and sunlight is speaking through. I think this photo is good for a combining the methods that we talked about seriously. You'll find the photo reference in the project and resource is section of the class or simply make a screenshot. Now here's the vertical one and horizontal one if you're watching on your phone or tablet. And like I said for the class project, you are, of course, free to use other images. I have collected a couple of Pinterest boards for you to check out. See links in the projects and resource is section. So let's start. I want to move the building a little bit to the side so I have more sky and more sunlight here on my sketch. No, I find the spot on the horizon where all of the lines meat market. On my sketch, I showed the line of the wall, the balcony I keep going to the spot of the horizon to check my angles for the horizon. Lines off the balcony, the roof. And since everything gets smaller as it moves away from our site, when I draw the tiles on the roof, I make them closer together then and further apart in the front. Keep in mind that these roof holders under luv have to be parallel to each other. Same thing for the window. I check my angles with a spot on the horizon. I draw the outside of the window first and then filling the inside. Show some texture on the shields, and I make the further shield shorter than the one in the front. I will only hint where the flowers are going to be. I don't want to make details for them in liner show a couple of stones on the wall. The road will also narrow down on the horizon line, and there's some bushes by the road in the back. Here's a tree in the front. I will only draw the trunk and the branches. I'll make the tree ground in watercolor later on. Let's mark where the flowers in the front are going to be. And now we can go. Oneto watercolor. I take a large soft brush and when the paper where the sky is going to be, I go over the trees and the flowers, but I leave the building dry. The wall must have a rough straight edge. I start with the sunlight. It will be right here. The rest of the skies just blue. I carefully go around the roof. Now I show a couple of sun rays with a clean, damp brush, and I will make the top of the sky little darker. I make sure the papers still with where the green trees are in the back. So I go over that area with a clean with brush and I take my yellows green color and mix it with neutral tint to make it a little more subtle. The further we go, the lighter it should be. So in the very back I make the trees light and blurry, and in the front the color is more intense but also blurry, since they're all in the back view and I want them to be out of focus. Now, I'll show some trees behind the roof while the papers wet some lighter green and some darker spots of green where the wall is, I keep the edge straight, the same thing for the polls. Now I pain the forest on the right side, off the road and right where the building is at a lot of indigo. The greenery is in deep shadow here, the further the lighter. I correct the edge of the tree. It has to be rough, a swell, not blurry. Now I'm adding shadow to the other side of the road by the road. The trees are in shadow as well. It's important to work, what on wet at this point. So the color is soft and running. I paying some greenery on the left side of the tree for the road. I waved the green off with the damn clean brush and the paper towel, and I use some burnt sienna and neutral jin to paint the road itself. And then I used some ultra marine and ego to paint some shadows from the trees. The rocks of the bottom are also left white with a sharp edge. For now, I'll paint the flowers next. I want the paper where I won the flowers to be and I take my calligraphy brush wedded and make it fluffy. I am mixed some red Kinnock Radom and some green separately. Right now, I only show the sunny part of the flowers on the picture. Almost all of them are in shadow, but I want them to look more sunny and my sketch. I paid the flowers and I go out of the wet area of the paper and make it this uneven edge of the flowers with random brushstrokes and leaving out some white gaps in between them. Then I add just a little bit off green. Now I date and ego and go over the gaps that are left darker in the front and in the bottom , because that's where I want the shadow to be and lighter in the back and on top. Now I take my bright green and paint the bushes in the front, adding, indeed, go to some spots as I go along and I make the bottom very dark on the left. I continue with the same method, making an uneven dry edge with white caps, and I had some intense red Kinnock Redon with dark and ego shadows to show the flowers on the bushes. My paint on the right has dried so I can make some more shadows. I makes the reconnect Sedona with, indeed, go to go darker. I apply the brush strokes and then connect them together with a wet brush into a single stain. Let's go to the tree. I clean my palette from the pink for the tree drunk. I used burnt sienna and neutral tint right above and below the sunlight. The branches are going to be very light, and then I connect these parts together with clean water over the sunlight so they're barely noticeable in the sun. And then I had dark, neutral tint for the rest of the tree trunk. We need some high contrast here, so I have dark, neutral tint to the wet paint and the parts where the shadows are. I'm mixing some light yellowish green for the leaves at the sun, and I draw the leaves. I even use clean water again to paint this leaves that are coming through the sunlight and the further away from the sun, the greener and darkened ego by the edge. My flowers are dry, so I paint a couple of branches with a thin brush. I use plain and ego for this. Now we go on to the house. I makes Burnt Sienna, right. Kinnock Redon, Ultra Marine. I put a lot of water in, so the color is very light and I paint the wall when I reached the flowers. I don't worry about leaving some of white gaps on the edge where the flowers start. They are going to look like spots of sunlight, the rocks on the bottom or quite dark. So I intensified this brownish color that I have, and at the edge, I go around the flowers. To do this, I can either wash wash out the edge like so or the way I showed before. And I like it much better. Make a harsh, uneven edge with white gaps in between notice that my paper is dry when I do this, then I connect the brush strokes above edge in one shape. Now my paint on the wall is dry, and I had a couple of stones with a very light brownish tint. We have to show this shadow below the roof. It's darker than the sky and the trees above, so I make some dog around and again and carefully pain the shadow with one single sheep leaving out a small white edge in the top to show that the roof has thickness. I use a flat brush where I need to make sure the lines are straight. Now, with the same color, I go down to show the shadows from the stones on the wall. I only paint the right on the bottom of each stone to show the shadow. Make so and finally, the shadow for the polls. There's a shadow on the inside of the window, the skies reflected in the glass. So I mix my ultra marine again and carefully paying the inside of the window, and I had some reflections from the tree within jego as well. Now I make some dark green, ultra marine green and indigo, and I paint the window covers. The other side is very dark and the shadow for the window cover. And while I do this, I've decided to intensify the shadows off the bricks on the wall and some shadows on the top, my trees dry, so I paint a couple of more branches in between the greenery. A couple of more details the shadow underneath the roof on the wall, the shadows inside the windows. Sometimes these little things makes your objects stand out. Just make sure for the details you only paint the size of actually in shadow, like here. The bottom in right side often object, not the whole outline. Let's take off the paper tape and see how it looks. By the way, if you have trouble taking off the paper tape and it starts to rip your watercolor paper, just wait for the sketch to dry completely and then use a ruler to press on top of your painting, right by the paper tape line while you take the tape off. So here's what this catch looks like. 8. Painting mountains: mountains, say I have some horizontal mountains in the back. I paint the sky first and wait for it to dry. I pain the furthest mountain with light color, and the mountain itself is darker at the top and lighter. The bottom. There's usually this haze and mountains. The closer the mountains get, the darker they are. And that's how the perspective rule works in watercolor. The further the object is the lighter in this and the closer the more contrast. The very front mountain will look even darker and have visible texture of trees on it. Another thing I wanted to show you guys is this way of drawing a far away view of a city on a hill. Sometimes this is what the shore from both and the sea looks like. So I went the paper again and then paying the sky. Then, when it dries, I want the area of the hill where the city will be, and with a flat brush, I make some silhouettes off far away buildings, trees, castles, churches, etcetera. I use different two colors, and they makes together since the papers, but but they imitate some complexity. It looks like they're different roofs and areas of forest. This is a good way to draw complex background without going into details. This is what Driwater color will look like. Let's go on to the third sketch to practice multi layering techniques and watercolor. 9. Practice sketch - mountains: Here's a photo I took in San Marino. You'll find the file in the project, and resource is section of the class or make a screenshot. Now here's a vertical one and the horizontal one again. You may use your own photos for your projects or find another image on Pinterest. The boards that have collected for your practice are linked in the project, and resource is section of the class. So I sketched the outline of the mountains. Show the line for where the trees will be. Here's the line for the stone fence in the front and another line to show the second tree. That's it. Everything else will be done in watercolor or will add some more details as we go on. So for the sky, I will use Naples, yellow, cadmium, orange and ultra marine. I wanted to add violet, but I changed my mind. Once I tested the colors together. It looked too colorful for the mountains. I will use burnt sienna and neutral tint and cold, indeed, go on the sides where the mountains and trees are in deep shadow. Remember about using warm and cold colors together to show sunlight. Here I see some green peeking through in the branches of the tree, but it's very settle more brown than green, so I make some light brown color with a drop of green. I want the whole page and make the first color wash with the sunlight enables yellow cadmium, orange, ultra marine. I cover the whole page. I'm going to use this first layer to show the color, bouncing off the stones in the front as well. Since watercolor is a transparent medium, I'll use Manya layers deep on the tone gradually to make my objects looking more and more realistic. I add some rays with a clean brush, and here I feeling that settled green right away for whether trees are going to be. I use a paper towel to make sure that the green doesn't run on the stones. Now the first layer has to dry. Once my paint is dry, I take the liner and add some branches so it will be easier to leave this light spots of green between them. So I start with the mountains. No, I use the warmer tones by the sun and colder tones on the side. Each time I wait for the pain to dry before I start a new layer off mountains and they get darker towards the front in the front. We will show these outline off the house roof with very dark, neutral gray. Here's where I touch relieve some green spots in between the branches. I tried with dry paper, but then I decided toe wet the whole area and work wet on wet and dark and the whole area a little bit. No, I wait for everything to dry. I paying the stones and neutral tent, and I used some dry brush strokes to show the stone texture, and I had one more mountain on the back. Now I make some cadmium orange in neutral tint and deep in the color of the stone. I would go on to the trees using the same technique as for the sunshine in the forest, but with the different colors burnt sienna, neutral tint and Antigo at the bottom. I even out the tone off the hill with the tree and wash out the edge where the second tree will be. Now I use very dark, cold shades to draw the second Treem, and I leave just a couple of spots off that green gray color. Behind that, as before, I connect the brushstrokes together so they become one stain of dark paint, and I use the same dark color to paint the final shadows on the stones in the front. Oh, if you noticed in this casual used 3 to 4 layers to paint some of the objects like the stones and the trees, and gradually they started to look more and more realistic. So that's how multi layering works. In watercolor. The colors were used below, like first watercolor wash are actually peeking through connecting the painting together, so looks balanced out and connected as one. Here's how the finals catch looks. 10. Final thoughts: Thank you for staying with me all this time. I hope you enjoyed the class. I would love to hear from you guys. So feel free to leave your thoughts, comments and feedback on own discussion board for the class. And don't forget to share You work with other students in the project section. So good luck to you. And I hope you have a great time with your watercolor sketches by