Watercolor Tuscan Villa in Steps | Daniela Mellen | Skillshare

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Watercolor Tuscan Villa in Steps

teacher avatar Daniela Mellen, Artist & Author

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

21 Lessons (1h 9m)
    • 1. Class Intro

    • 2. Class Supplies

    • 3. Using the Template

    • 4. Mixing Shades of Green

    • 5. Mixing Cream Color

    • 6. Painting Layer 1 of the Villa

    • 7. Painting the Driveway

    • 8. Painting the First Layer of Crops

    • 9. Painting the First Layer of the Roof

    • 10. Painting the Second Layer of the Roof

    • 11. Painting the Windows & Doors

    • 12. Painting the First Mountain

    • 13. Painting the Second Mountain

    • 14. Painting the 3rd & Fourth Mountains

    • 15. Painting the Lawn Areas

    • 16. Painting the Trees

    • 17. Painting the Sky

    • 18. Painting the Crops Part 2

    • 19. Adding Details Part 1

    • 20. Adding Details Part 2

    • 21. Class Wrap Up & Variations

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About This Class

Paint an elegant, yet rustic Tuscan villa using watercolors in this intermediate level class. The Italian region of Tuscany is known for beautiful landscapes, with rolling hillsides, as well as fragrant crops, and farmhouse estates. We’ll take inspiration from these elements in our painting. Surrounded by abundant earth tone colors of marble, limestone, terra cotta, leafy vineyards, and herbs, we’ll use warm reds, golds, greens and browns in our painting. 

We will use an array of greens, from intense to muted, and look closer at mixing pigments to achieve this.

For those students seeking more of a challenge, I've included a BONUS template with a more complicated Tuscan Villa Landscape Drawing.

Charming Watercolor Castle in the Woods is a watercolor landscape class related to this one.

Meet Your Teacher

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Daniela Mellen

Artist & Author


I'm an artist and author living in coastal Florida and surrounded by plants, animals, marine life, and the warm sun - all things that inspire me.

I am drawn to creating things and love to get lost in projects. Each day is an opportunity to learn something new, build on existing skills, and branch out to new ones. I was formally trained as an educator which is my passion and incorporating art into teaching makes my life complete.

As of April 2022 I upload classes monthly on Skillshare, but have a catalog of over 180 existing classes. You'll see handmade books, memory keeping, watercolor, acrylic paint, unique art supplies, and photography composition. Thanks for joining me and I look forward to seeing your work.

Check out my blog for additional info on my website dan... See full profile

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1. Class Intro: Hello. I'm Daniella Melon and author and artist here on skill Share. In today's class will paint a scenic watercolor Tuscan Villa. Tuscan villas are beautiful estates, combining classic styling with modern elements. They're rich in earth tones, from the line stone farmhouses with terra cotta roofs to the rolling green hills, fields and vineyards. This intermediate watercolor project is created in steps to achieve a rustic yet elegant villa surrounded by mountains and rolling fields of crops. We'll use basic painting supplies like water color pigments and 100 and £40 watercolor paper. I've included a template of a Leinart drawing of a building and landscape, which you can download imprint onto a piece of copy paper uses as your template to make your pencil sketch. I have included a few suggestions on altering the template to suit your own design style using the Tuscan villa info sheet. So let the college scheme for your painting. I've included a lesson on nature inspired greens and how to mix them, Then start painting, enjoying the process of creating different shapes and colors in your piece. I've included a bonus template with a slightly more detailed image for a more involved Villa design. Try your hand in either one or combined elements from both. For your class project. Create your own Tuscan villa using the step show, take a photo of your artwork and posted in the project section. Be sure to follow me here on skill share to get notified of future classes and please consider leaving your review. Now let's get started painting. 2. Class Supplies: for our watercolor Tuscan villa will need a few things. You can download the project template printed out, and if it's on a piece of copy paper, then we'll need some eight by 10 watercolor paper. I just cut my watercolor paper down to size. This is £140. You'll need a light source either a light pad or you could just use a window that you have . Or, if you have some form of table that you can shine light underneath and we'll go over that Maurin the next chapter. I've also included a little info sheet on the Tuscan villas, the exterior, the landscaping in the decor as well as the color schemes. You can download this if you'd like to refer to it. For our painting, we'll need watercolor paints, a pencil and an eraser and just some watercolor brushes. I've also included a list that you can download for the class supplies that include the colors paints that I use, but you can use any paints you have on hand. The next chapter will go over using the template 3. Using the Template: to use the template, you'll have it printed out into piece of copy paper, and then you have your eight by 10 paper or whatever size watercolor paper you'd like to use. I designed the template for the eight by 10 size, and then I have My light pad. Here is just a thin little pad, and it illuminates from the bottom. You can use a table that you, um, with a light source underneath, like maybe a glass table. Or you can even put a picture frame with a light underneath. Or you could just go to a window where there's some nice light coming through. You can also cut the template out. I find this one's a little more involved, and you spend a lot of time cutting it out. So I feel like the tracing is the better option if you want to use it. So what I do is I put my template down first, and I just put a little piece of tape to hold it in place. Just so doesn't move too much. And then I put in my paper on top. I can shut off the light on, or just the intensity of the light as I see fit. And then I just move my paper to where I want it. So I want my mountains to be a kind of a top. So put that just like this, and then with my pencil, begin tracing because I'm right handed. I like to start the left and work my way across, and I'll just very lightly trace onto those lines I don't want to in causing in Dent on the paper. If I can avoid it, speed this along. Once you've traced your template, remove a light source. So some modifications you might want to consider to make the template your own is maybe change the shape of the windows. Here I have rectangular windows up top. You might want around them, make either round windows or little dome shaped windows here like I have on the bottom of the Tuscan villa. You can add more trees, or you can remove some of the trees. So here I have the trees, and I think I might want to put it in a few more along the the border here. So maybe add one more here, a nice, tall one. You might want to add a farmhouse, a small little one in the background. And you can do that as well, or maybe even a tower. So after I have my design the way I'd like it, I'll go in with my eraser and just erase any pencil marks that I know. I don't need where I've overlapped trees. Or maybe I stuttered with the pencil a little bit. So here's where you can modify the drawing even further, and you can decide what you want to do. So with each of these sections, I know I'm going to do them slightly a little bit differently. I want to emphasize the crops that are growing in the rolling hillside. So over here, I'm just gonna make some lines parallel to this swirl here, and I'm gonna have. When I do my painting, I'm gonna make little mike, maybe, ah, vineyard. So I'll have grapes or some of the other crops, olives or beats that are very familiar and colorful to the area. So I have my just a light pencil line, so I know that I'm gonna do it just like that. Now that I have my piece the way I want it will take a last look and see there any alterations I'd like to dio, so I'll just make erase any other straight pencil marks. And when I think IM said, I'll stop right there. The next chapter will go over mixing some different greens and some creams to get the authentic colors of the Tuscan village. 4. Mixing Shades of Green: to achieve some realistic looking greens, particularly the ones that we we want to achieve the dusty green here or the deep olive green. What we do is we'll just use try, Align era here I have just a little piece of scrap watercolor paper and my palate. My colors might be different than your watercolors, but it's the similar effect in just a little bit of exploring with the color and you'll find the color you want to achieve. But you want to mix so the green right from the palate. This is my darkest screen, my deep green. So it looks just like this. So it's a nice screen, but I've maybe I want some more variation. So what I'll do is I'll mix up some colors. I'll take some of this dark green that I used right here, and then I'll add a little bit of the crimson to it, and this is trial and error, so I might add too much or not enough. So then this is the original green, and this is the green I have where I mixed a little crimson and it becomes suddenly very darker. If I want to lighten it I'll just dip my brush and water and I can eat. If I don't need very much, I'll just tip it right on the paper. But if I want to lighten the color further, I'll mix another well with it on my palette, and I can light it, lighten it even further. So this is the deep green with crimson and try your hand at mixing your darkest screen with your darkest red. And then there are variations from that as well, mixing the lighter greens with the lighter reds, etcetera. Some will turn muddy, but it's really trial and error. This is a nice dusty green, particularly this one here, the lightest one. If I want a different shade of green on, mixed in sepia with some blue. And here I am taking my sepia and I'm gonna make some ultra marine blue. With that, you could go with Prussian blue as well. And believe it or not, you get kind of agreeing tone. And again, the more blue you put in with that, the greener it becomes, so this is particularly green, but depending on how much sepia you add, you can almost achieve a green. It's a very earth tone color as well, so I'll just go back in, continue to make some of that color, and you can see this one's more green than the 1st 2 that we did. So it's trial and error, and again I could just lighten it this way. It's kind of a charcoal Lee Green. Another way to make screen is to mix green again. I'll use my deep green here with some of this burnt sienna, and this achieves a different green altogether. And again, the amount of burnt Sienna you put in can alter the green even further. And lastly, if I want a brighter green, I'll take some of my dark green again on my palette. I'll add a little bit of that blue this time on a little Prussian blue, and then I'll lighten it up with some yellow. And this is just a lemon yellow. And again, this is all trial and error as well. So this is that bright green, as opposed to the bright green that I have in my palette, which has a lot more yellow in it. But again, this is gives me a nice assortment of greens to use, and again it's all trialling error 5. Mixing Cream Color: if I want to make screams, that's the other color that I find a little more challenging to mix. What I'll do is I'll take some yellow Oakar and some burnt Sienna, and then I have to water it down, depending on, um, the degree of lightness that I want. And this is a good color for the villa itself, and I'll just add some water. So here I have it, just like this. If I feel it's too warm, I'll add a little bit of blue, but not very much. I don't want to turn green, and I have it just like this, so it's a teeny bit cooler again. I can alter this by adding more blue. The next chapter will start our paintings. 6. Painting Layer 1 of the Villa: to first start are painting. The first thing I'm gonna paint is the actual villa itself. Now the villains tend to be earth tones, usually warm colors, either creams or stone colors like lime stone. And they have terra cotta tile roofs. So those are beautiful colors to use. That's where I'm gonna use my cream for the building. And then I'll mix my terra cotta for the roofing. We'll start with the cream. It all makes my color first. So to do that, I'll use my burnt sienna and my yellow Oakar, and I'll just play around until I get the right depth of color, and then I'll just add some water here to lighten it up. Then I'm going to switch to a smaller brush number four. Brush with that, and then I'm just gonna very carefully wet the villa itself because I'm gonna paint the windows darker. Um, I'm gonna try and avoid them, but I'm not too worried if I get the windows or the doors wet. Just don't want the color the water to beat up on my paper just yet, So if there's any area where I added too much water, I'll just going with paper towel and dab it. Gonna switch to an even smaller brush because I want a very faint color and I'll take that color that we mix that we lightened. And I'm just gonna add some pigment to my different parts of my house here, the villa trying not to color the entire area. I wanted to look very painterly, but this is our first layer. Tuscan villas have vines in a lot of plants, some even growing up the villa. So any discoloration we can use to our advantage there. Okay, so I have my villa done. I'm gonna go back in with my darker color that we mix that I kept on the left side of my palette and at the base just gonna add a little bit spots of darker color. And I'll let that bleed because the top of our villa is still nice and wet. I don't want any harsh lines, but I do want the transition from the dark toe light kind of creating some shadows. Now go in one more time. No, I won't have too much pigment on my brush. And I'll just do a little shadow under the eave here again. Not everywhere, but just some spots and I'll let this layer completely dry. 7. Painting the Driveway: for our next layer here. We're gonna paint this this dirt driveway, so I'm gonna make some of that color. It's gonna be very similar to the house color again. Natural earth tones. So I'm gonna use, um, yellow Oakar commence in sepia. And this time I want a nice, rich color. I'm not gonna look for a cream. I'm gonna look for a deeper color, but again, the earth tones. And then when I have that, I'm gonna wet this section here, the wide section and I'm gonna keep a good maybe half inch from the edge here. So I'm just gonna and keep that part dry. So I'm just gonna wet like a triangle coming out from here. And I'm doing this because I want my most intense color on the area. I kept dry, and I just want the color to bleed into the center. This is the, um, point closest to us. So I want that to be the lightest to have a lot of highlights. So after I've with that area, I'll go in there with my brush, dry it off somewhat, and try and absorb this pigment. I'm gonna start here at the top lay my pigment down. I'll go back and let it bleed right into the center here, still trying to keep a nice, vibrant color in a nice edge alongside. I'll continue right around the perimeter that'll dip my brush in water and slowly make my way to the center, dipping my brush in the water each time. Keep that the lightest color in the center. I'll take some of that sepia on my brush. Mix it next to the color we did. We mixed. There's a little more intense, and I'm gonna drop it at the furthest point away from our I. So right up against the villa, I'll sharpen the point of my brush and kind of just do a little bit of, ah, dipping some pigment around the outline and we'll let this layer completely dry. 8. Painting the First Layer of Crops: for our next layer. We're still working with the nice brown earth tones. We're gonna work on the little crops area here, so I want to create a similar technique to what I did here on this driveway where I want the center to be the lightest. But I want this color to be super light right now. We're just doing the bottom of the earth. So with my largest brush, I'm just gonna wet the side here where I want the crops to go. I'm leaving one little stretch here of area that I'm not coloring. Um, we're gonna make that green the one that abuts the driveway here. But once again, I've colored my area, wet my area, I should say where I want the crops to be and left a little dry edge. Gonna take that color that we mix the light color. Just gonna add a little bit of water to that. I want to be a little bit lighter than the driveway color, and I'll start on the edge and do the same technique. I want the color to coordinate with the driveway, but not be the same is the driveway. It's kind of a blend between the house and the driveway color, and I'll let this trail off on the right hand side. In the bottom. We'll dip my brush and water. Just make that transition a little bit lighter. I don't want any harsh lines. I'll just go back in and just had a little bit of darker pigment furthest from the I, and we'll let this layer dry. 9. Painting the First Layer of the Roof: you know where to work on our roof. That makes my color first. Here I have my four brush is a little smaller area. So I want this to be a nice terra cotta, and I want to continue with the warmth that we've started with the stone here. So I'm gonna use my burnt sienna, make a public of that, and then I'm gonna make some of this yellow, um, orange. It's a beautiful color. I'm gonna add a little Crimmins into that and then over here to the side, I'm gonna makes a little more yellow orange with a little bit of orange. And here I just want a little variation of color. So with a wet brush, gonna paint each section of the roof, leaving a good dry spot in between. So we have the 123 and then this roof, and for this little lean to here will go over that later. So I don't wanna have too much water on my paper. Dry my brush, pick up some of the water. They're all going with my smallest brush, my number one brush. And when that darkest color, I'm going to start at the bottom of the roof. So return my paper to the side, drop in some pigment, leaving a little space between the roof and the house. I'll go back in. I'll pull that color up a little. We'll do this over here on this piece of their Rufus. Well, rinse off my brushing with our lighter color. I'll add it just a little bit above. Don't take some water on my brush and pull the lightest color to the top of the roof. I'll go in there with my full medium color here and let the two colors merge. Then I'll go back in with my darkest color and dropped some more pigment in the bottom there. And I'll do the same thing over here in this part of the roof, starting with my darkest color. How add water to my brush into the top of the roof. Go back in with my darkest color at pigment to the base of the roof. Sharpen this point of the roof over here, and then I'll just work on this tiny little roof we have again starting the base. Gonna be the darkest and then adding are lighter color. I'll go correct any shape mistakes, and we'll let the roof dry 10. Painting the Second Layer of the Roof: Nevin or roof has completely dried. I want to go in with my eraser. I want to erase it, and then I want to put a glaze on it to make it look more like terra cotta. So I'm erasing the pencil marks just around the roof area, leaving the ones for the windows intact at this point. And now we'll mix my terra cotta glaze color. I'm going to take some of this burnt sienna and this crimson and then I just go out A little bit of water to that could have switched to a larger brush. Number four brush. Get a lot of pigment in a lot of water on my brush. I'll start here at the bottom, create um, the color line and then continue it all the way. Do the same on this part of the roof because we did a glaze. You can see a little variation in the roof coloring and on this little piece here, switch back to my number one brush. Take a little more of that dark red that crimson a little bit of the burnt sienna no more crimson. And I'm just gonna drop some pigment. The bottom of the roof area start on the right hand side this time. And if it's not bleeding, I'll add a little more burnt Sienna to this to make sure the color blends nicely. Did my brush in the water don't any harsh lines do the same thing on this piece of the roof and on this little room as well? Now I'll take some of that dark pigment that we have, and I'm gonna go over that little lean to leave a little space between the top roof and the lean to roof. Just pull that pigment down. I'll go back in with more pigment on my brush and just drop it here. I want to create shadows, and I'll do this until I'm satisfied that I have a nice little variation on the roof. I also go underneath the eve of this roof. Then I'll go back in. Just make sure everything blends same procedure, and I'll keep doing this until I have achieved the vibrance that I want and then I'll let this layer completely dry. 11. Painting the Windows & Doors: before he started my greens. I want to work on my windows here. So with a wet brush just gonna, um, wet the windows and the doors just slightly and then I'm gonna makes my color I'm gonna take my sepia, gonna mix it with this A little bit of Prussian blue That gives me a nice pinky color Gotta go in with my small number one brush, make a nice sharp point and pick up some pigment and don't want it to be wet and sloppy and loose. If it is too much on my brush, I'll just rub it on my palette We'll start at the top here. I'm gonna turn my paper over and create my windows. I'm trying not to color in the window completely. I don't want a black box or dark box. I just want a hint of a window. So basically, I want to make the perimeter most. Most of the perimeter shape leave some parts. White paper. - I'll do the same with the doors and then on these little doors I just want and little windows. I just want to create this shape. When that's done, I'll go in there with a little bit of black mix that in with my color just to get a little bit of a darker color. And then I was want to put a little darkness on one side of all the doors. Do that on the right side. Do that on some of the windows as well. Well, let this layer completely dry. 12. Painting the First Mountain: So now we're gonna start with our greens. We'll start with the mountains and mountains in the background. I want them to be the lighter color and kind of dusty. And as they get closer to us, the color will be more vibrant. So it makes our colors first with the number six brush. I'll start with some of this dark green and a lot of little Crimmins in Tibet. Take that scrap paper that we used and just test out the color. It's interesting. So I like that. I want to mix a lighter version of it as well. So mixed that color a little deeper, little more intense, a little more crimson. And then I'm gonna mix right to the side of it. A much lighter version. So I'm just gonna add water to the existing color, but and I'm over here. I'm gonna mix the same deep green with some of the sienna. We'll see how that looks as well on my sheet. Oh, I like that. So now I'm just gonna mix a little water with that on the side here. A little more of that color in a watered down version. So, no, I have four pigments. We'll review the more more time. This is the lighter one, the darker one but dusty color and the lighter of the dusty or pillars. So there gives me four colors starting here with the latest dusty ist color and moving closer. So I have three layers of mountains on the left hand side, and I have 1/4 mountain here on the right hand side going to start with this lightest color . And that will be my color in the back here with my number six. Brush my water a little bit. I'm gonna paint within the mountains here with clear water, leaving a nice space between the mountains and the sky in the mountain in the mountain that's closer to us. So again, I just want to basically wet the center area here. I'm gonna go with my dusty ist color. My lightest color that's furthest in the distance will be haze that makes the eye see it is lunch lighter, and I'm gonna start at the base where it's dry on the paper and drop in my color. So I'm gonna take my color and continue. Teoh added to the page here, adding water to let it blend. I want the deepest color at the base of the mountain. Do it on this side as well, right behind the house, the villa as well. And they'll have just the lightest color up top. The color isn't vibrant enough. I can go back in, which isn't what I'm gonna do here at a little more of that richer color with some water. Drop that in right at the base with a wet brush will just blend out any color, so there's no streaks and we'll let that color dry. 13. Painting the Second Mountain: now that our layer of our mountain, the furthest away from us, have has dried. We'll go over the next mountain in the distance, just one closer to us. So what? The paper again, leaving the top dry. A little gap between the top mountain and the gap between the bottom mountain as well. This allows us to control the intensity of the color. So then, referring back to my sheet here, I'm going to use this color right here, which is the next color in intensity in my swatch palette. Turn my piece on the side again. I'll start at the base, drop in a little water just tonight, have a nice blended edge. I wanted lightest up top where it meets the mountain behind it. Then I'll go back and just drop a little more pigment just for a little more intensity at the base and then with a wet brush. Just blend that color to the top, dip my brush and water. They're gonna take a lot more pigment on my brush and really intensify that base. I want there to be contrast between the two mountains. I like that little white in between. Go back in one more time. Just dip in some color when it dries it. But the color isn't intense enough. I could go back in and at a glaze. Well, let this layer dry. 14. Painting the 3rd & Fourth Mountains: now we'll continue with our last two, Um, mountains here, going to my palette. I'm gonna use this one here. Could add a little bit more water to it. Just so it looks a little bit later than this one. And then all what? That mountain again? Leaving a good space between the mountain and the mountain above it. And below it can. I'll let the mountain closest to us start with this mountain here. It will switch to a smaller brush so I can control it a little easier. My number one brush. And now I just add a deep color right to the base of that mountain. And then I'm gonna, slowly, with my brush. Just push that pigment up to the top of the mountain where its latest just bring that pigment right to the top. And now continuing with our last mountain. Here, take the brightest color that we have for the most vibrant. Try and move this around here and again. I'll add the pigment right at the base and pull that color up. I also switch to my smaller brush my number one brush and continue to drag the lightest pigment to the top of the mountain. Ah, work around the trees and again trying to keep that radiant of the pigment going. And then I'll continue adding pigment at the base and blending that color out the latest point of the top of each mountain. So here I am, working my way towards the center of the painting again, really, at dropping in more pigment at the base and working around those trees. I'll do some negative painting here again. I had as much pigment as I want, and I really want a deeper effect on this mountain that's closest to us. So I'll continue with that. Then I'll go to the other side of the villa and continue adding my pigment. I did my brush in the water to lighten the color and continue on. This takes a little bit of time, but the end result is worth it. Till my paper get the pigment to stay at the bottom and I'll continue just finishing this mountain. So I'm gonna go back and makes a little more of that color, and I'll just drop in some pigment of that. And here's where I really like this opportunity where I can really make The color is vibrant as I want because we mix the color. We got a really unusual color, very natural color. I've heard it called sage or spruce. Think it looks really nice for the mountain and I let the Slayer completely dry. 15. Painting the Lawn Areas: so continuing with our greens, I want to add our little green segments here. So I'm gonna mix my color first, put some water on my pallet, make some of this deep green, some Prussian blue We kind of get a teal color and then I'm gonna make some yellow in with this. Made a nice, vibrant green here. So now I clean my brush and I'm gonna wet this area here and again. I'm doing the same technique. We did all these other fields where I'm gonna wet the center and the same thing here. I'm gonna turn my paper to the side, pick up some brush in a nice sharp point on my paintbrush, and I'll start again with the most intense color right on the edge. We'll go right up against the driveway here with that nice, intense color. And then I want to do the same thing with this intense color at the base of the mountain. And then I'm gonna blend the two sections out. So its latest in the center dampen my brush and blend those two colors. Don't want any harsh lines. Carefully worked the paper. If there were any harsh lines with a wet brush. I'm gonna go in with my smallest brush. Just make a nice, vibrant edge again closest to the house here, the furthest distance. I'm gonna make it a little darker and just blend that edge out and again. Nice, sharp edge, clean my brush and just blend out the center. Our latest point. Do the same thing with this patch Here, start with my number six brush. We're gonna re wet the paper just to make sure it's nice and wet in the center. And then with my nice small brush, I'll go in there and add my pigment. - I have a nice went center. Ah, press paper. Push that water to the edge and dab in more pigment furthest from our distance from us, and we'll let this layer completely dry. 16. Painting the Trees: now working our trees. So I want these to be just a little bit brighter. Um, then the mountains behind them and not quite as green as the We'll call it lawn in front of them. So I'm gonna make some of that green. I'm going to take some of that deep green yet again. A little bit of crimson. Not as much as we used for the mountains, though in a little bit of yellow. And that gives us kind of a brighter green, but it still has a little earth tone to it. With a sharp point of my brush. I'm just gonna wet the trees. I'll just do these three to start with and I'll take my number one brush and I'm gonna add more pigment on the right hand side of the tree. The shape doesn't have to be perfect. Little dip my brush in some water, fill in the rest of the tree. I'll go back in with my pigment and dropped more pigment on the right hand side. Then I'll take this a little bit of that pure green from the palate and mix it on the right hand side base. The darkest point of our tree. I'll repeat this procedure on the right hand side here, wedding my trees first adding the first color on the right hand side, blending the color and then adding more pigment on the right hand side. Then I'll go in with a little pure green right from the palate and drop it at the base. I'll go in with some of that mixed color just to make sure those lines blend nicely. Get the nice shape of the cypress trees. Then, with a sharp point of my brush, I'm gonna go in here on the dry paper and create the little trees that are up against the house, trying to make a little bit of an irregular shape. And they will just go in there at the base and drop in some of that pigment. And there was a good time where I can go in. If I want to add a little bush here and there. Just add a little bit of color from brushstrokes. Tuscan villas had lots of greenery, lots of plants, and I'll let this layer completely dry 17. Painting the Sky: I want to go in and do the sky. And I wanted to be a very simple sky. Someone take my, um, large brush my number six brush and just mix some blue Here, have some cerulean blue and I'm gonna makes just a little bit of purple with that looks Makes a little more of the color. Really like the way that looks now with my paper. So I want the darkest color at the highest point of the sky and I want some areas of clouds , so that's a very easy technique to achieve. Gonna wet the paper in sections leaving dry spots. I want to leave a little area between the mountain and the sky Over here. I overran it, So I'm just gonna go in there, dry it, then add more water. And then with my brush, I'll absorb a lot of pigment and start at the top, and I just make strokes across the sky. I'll go in there with my brush and just blend out those strokes. Now let's continue to blend. Want the latest color by the mountains in the darkest color of top. So after I blend it, I'll go back in with some more pigment and just drop it in, moving it around. Take my brush, lend out any spots. Don't let any harsh lines. We'll blend those out as well. Just make sure the color comes right to the mountain. Very faint color. There we have the sky, we'll come back and work on the crops, and then we'll do some final touches. 18. Painting the Crops Part 2: for the crops. I want a very painterly approach. I want two colors of green and then it's optional. If you'd like to add a knack actual crop like either grapes or olives or something to it. So what I'm gonna do is I'm gonna mix my colors first. I want a dark green in a much lighter green, so I'll use some of the color we have here. Just make some of that dark green for my palate. Mix a little sepia with that and a little bit of crimson. So there we have a nice dark color will start this color first. So what I want to do is I want to follow these lines that we did in pencil lines. And I want to do little spots of color just here and there. They can connect. They don't have to, though, just like a little plants making kind of little V shape, maybe a little our shape. And I'm gonna do this across each of the lines that we sketch lightly. Some will be a little sparser than others. Again. We're looking for a kind of an aerial view. Be a little bit bigger. They get closer to us and again by following that line. It kind of creates a nice shape, and it gives the indication of the hill that it's on go right to the edge because if there's another side behind it and I'll do one more row here, there's any areas that dried that I want to add a little more fullness to. I'll add a little bit more, but not too much, because now we're gonna do one more layer. So when you take the color, we have clean off my brush, I'll take this lemon yellow and I'm gonna mix color until we get a lighter color. Makes a little more lemon yellow. There we have a nice, lighter color, and just gonna add some of that color in spots creates a nice variation in the greenery, indicative new growth on crops. I can't even fill in some spots, and when the colors bleed together, they form another color altogether. Lastly, I'm gonna go in there with just a little bit of sepia and just on a few spots, and that I had a little bit underneath and we'll let this later completely dry. We'll come back and add some final details 19. Adding Details Part 1: for our final details. I want to erase any pencil marks that remain so then I want to go in and do the base of the trees and the chimney. We'll start with the chimney. Just gonna use a little van. Dyke Brown. Just a simple brown. No. Makes a little yellow joker. With that, I'll let the chimney and then drop in my pigment. Now for this color as well. Gonna take a little bit angry, create a little shadow on the vineyard here. So I'm just gonna drag that color and it'll dry a little lighter over any of the areas that we created plants. I'm gonna mix a little green again, the stark green, but we have and some burnt sienna. And I want to use this for the trunks of the trees. So I'm gonna take this and just pull some trunks down of these trees. Just gonna make a little bass and the ones closest to the house, and we'll let this layer completely dry. 20. Adding Details Part 2: for the next detail work will take some burnt sienna and some yellow Oakar the shades that we made the house in. And we're gonna make it just a little darker than the house shades. And we're gonna create some shadows but a little yellow orange to that as well. So with my number one brush to start by outlining of the house with a very sharp point and I'm barely touching the paper and then, after I have done, all the vertical lines are gonna go in there and create a little shadow right underneath the top here of the roof. We'll do that on all the roofs a little bit underneath the windows as well. I'll take that color onto the chimney just as a glaze that ties it in coordinates it. I want to make a shadow for the trees here. So for that, I'm gonna take some of that deep green a little bit of crimson, maybe a little more deep green Could add a little water to that. No more crimson, I think. Here we go. It's kind of a grayish green, and now our shadow is gonna fall to the right. So with a sharp brush and a lighter color. Maybe one more brush full of water to that. Gonna pull that color right across. So I have the three trees here in the shadow. I'm gonna just make that shadow a little bigger at the base. Pull that across. This one will be a little longer. And then I was too slight. Little shadows here from these with that green. I just got an outline with a very light touch where the two crops meat. And then with that same green, I'm gonna outline the base of the mountains and we try and stay on them based side and not the white side. Here at a little more water could be a little lighter up here. It'll just wet. My brush just blended out slightly. And there we have our Tuscan villa. 21. Class Wrap Up & Variations: So here we have our completed Tuscan villa We have are rolling hills are varying degrees of green, for the mountains are sky and our crops. There are some variations you can do using the same template when we discussed changing the shape of the windows in the roof. And you can do that as I have done here, where I've changed the shape of the roof, the windows I've around it in this example, and what I did was I made this instead of this being our driveway on the original. I made this into a rotating crop, and I made this small parcel here on the variation into the driveway. The shadows have a little more personality instead of the straight lines, they've got a little squiggles, and I changed the mountains. I used shades of purple instead of just the green. It gives a different effect. I also made the crops a little more lush, and I added some produce into them as well. I've included a second template as a bonus for you. Very similar, but I drew the crops and there's a lot more trees, a lot more foliage in a farmhouse in the distance from here with the mountains, you can change them up is you'd like and I do have some examples of that as well. So for this one, I started this one and I have to cropped fields. Small little farmhouse in the distance in this initial farmhouse has the tower. It's kind of a pretty look. Countryside. Look in the variation that I made for it as well. It's just slightly different. Instead of having to to crop fields, I have just some greenery still have that squiggly driveway and rounded windows on the farmhouse. I hope youll try your hand at one of these versions and post your work in the project section. Be sure to follow me here on skill share to get notified of future classes and please consider leaving a review. Thanks for watching.