Watercolor on a Sketchbook: Paint a typical Tuscanian Landscape | Chiara Mazzetti | Skillshare

Watercolor on a Sketchbook: Paint a typical Tuscanian Landscape

Chiara Mazzetti, Artist

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10 Lessons (1h 19m) View My Notes
    • 1. Welcome!

      2:04
    • 2. Materials

      2:49
    • 3. The Sketch

      5:48
    • 4. Sky and Clouds

      8:21
    • 5. Hills

      15:45
    • 6. Houses, first layer

      9:53
    • 7. Greenery and Details

      11:58
    • 8. The Grass

      12:28
    • 9. Final Details

      8:53
    • 10. Thank You! / Class Project

      0:45

About This Class

Welcome to my second Skillshare class in which you will learn to paint a typical Tuscanian landscape using watercolors

This class is suited for everyone and I will guide you towards the completion of the painting step by step, carefully talking you through all the techniques and the little tips and tricks I use to get the best out of a painting.

In the first part of this class I will go over all the materials needed to complete the painting and together we’ll see how to create the initial sketch that you can use as a reference, you will also find it as a download in the resources section.
In the second part we dive right into action, painting the sky first, full of clouds, and shaping the cultivated hills where the village is located right after.
In the last part we will focus on the final details of the painting and the tufts of grass in the foreground.

With this class i hope to let you savor the Tuscan atmosphere and bring you a piece of this beautiful country. Are you ready? So, let’s get started! 

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In the resources section you will find:

  • The photo of the initial sketch
  • My full palette. In the videos i tell you the exact colors i’m using
  • 3 photos for you to use as inspirations

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Transcripts

1. Welcome!: Welcome to my second skin shirt cross, in which you will learn to paint a typical to scan and landscape using watercolors. How I'm care about safety, and I'm a watercolor artists from Italy. I was part resident Tuscany, a magical place in central Italy, well known for its magnificent views. What you're looking at right now, our photographs I took while I was on a trip near my hometown this summer and they realized the luck I had in seeing those places. So I decided to paint them and make this glass. This cross is sweeter for everyone, and I will guide you toward works the complexion off the painting, step by step, carefully talking you through all the techniques on little tips and tricks. I used to get the best out of a painting. I regard you to paint heels full of greenery, a medieval village in the distance and cypresses lining untold road. In the first part off this class will go over all the materials needed to complete the painting. On together, we'll see how great he needs a sketch that you're a news as a refuse Reince. You will also find it as a download in the results section. In the seven part, we dive right into action, painting the sky first full of clouds and shaping the cultivated feels where the village is located. Right after the last part. We will focus on the final details on the painting and the tuft off grass in the foreground . With this class, you let you savor the Tuscan atmosphere and bring you a piece off this beautiful country. Are you ready? So let's get started. 2. Materials: Let's discuss about all the materials you will need for scores. First of all, a watercolor sketch book is a must, but if you don't have one, simply use a shade of with colored paper. In this class, I will use this Ah five book by animal watercolor planes. Better if they are artists. Grade for the best results. He'll have pants off white nights by no Sky Paletta next on the brushes to be rushes like this. Once I released them mainly for the scribe. I will explain their use in the day in chapter sky and clouds. A very versatile brush. A number a thrown brush. Ah, quill brush for green washes on the heels, a small brush but with a very final pointed deep. For the days here I have a number for Then I will use the Bieber grass. Come back, Seaver Brush. It has this unique shaping Bristol's, which make it much easier to paint things like Russ off. And you can also create particular textures with it. I give you all the details on our use it on chapter grass. I want to show you this black brush. I've got toe what larger areas off paper, but you can use your most preferred wants for this kind of task. The thing I want to highlight is it sandal, with its pointed shape, its preference to scratch some point away from the paper. And again, I do that in Chapter Cross. You alternate some other materials to win. With watercolors like that, well, jars off water on a mix in SAR. Freeze like a dish or a polit. If you decide to use a sketchbook, I recommend you also to get a case. It's option, but if you have it, it makes your life easier because your paper one. Tobacco. Next for the Mitzel scotch, I simply use normal pencils and eventually on a razor. Whitewash like this will be useful for this platter technique will say in chapter final details and the fine liner zero point off. Five. Now that we have everything we need, let's get started 3. The Sketch: dick depends you and start to drop the tree Main heels off the painting with a light line. You don't want them to be visible in the final result. Don't worry. I put this exact growing in the section projects and resources here below this class. The trust, the road in the foreground and let it continue in the hill behind. Keep the perspective in mind. The road becomes Stiner us. The distance increases refined the heels. I want them to be separated from each other. Now I think I'm more shopping fancy to draw a cluster off houses. I want to other road next to the village that connects itself to the main one. To balance the composition, I drove a distant deal. I want to make this group of houses a village. So I had more off them and I also draw a tower. - I like it more. Crenelated tower. I refined my drawing here under and I add some lines on this hell to simulate cultivated fields drew greenery with a loose ham just to visualize the space it with steak refined halt is and I had some more of them here and there now drop buildings on the left aria to balance different position 4. Sky and Clouds: and let's start with the sky. I will use this true brushes, one for the yellows and one for the blues in order to prevent awake green shade coming out in the sky. You can also use a single brush, but you have to make sure that there is no pigment on the Bristol's. Why, after mating the two colors makes cabaret yellow and a bit off lemon yellow in my wallet, and I tried in a separate piece of watercolor paper until I'm satisfied. In my case, I want to add more water to have a lighter, less loaded corner for the blues off the sky. I choose covered blue as a main color. Then I add a bit of ultra Marine. I tried the color on the same sheet off paper to check. The two colors are not during when you are ready to paint. Put the clip on the border off the sketchbook to prevent the paper. Tobacco. What The paper on Lee on the sky area and jacket dealing with the book. It must have a nice and even sheen off water on it. Start with the yellow Meeks on the bottom with smooth movements from left to right. Very little color is enough. We don't want it to be right yellow. I get to meet sky by blurring the border line with the brush. Live this brush and pick the one with the blue mix. Miss about the color in opposite way toe what is done with yellow. So starting from the dock and forming a crowd it as you go down and in less and less car until it re cielo, I want to have more covers, blue on the top and that yet eat over the previous one. Why the paper is still well, it's time to paint the clouds The paper must still be worth. In order to obtain fluffy clouds, I add the violet, my polit over the blue mix, and they start to put the strong color mix on the sky. The clouds. I want our with violet on blue shades, So I picked the ultra Marine and I got it to depart it and then back on the paintings. It's better if the clouds with different colors overlap, fading with each other toe obtain are more beautiful and effective result. Touch the paper austerity. Vly with the belly off the brush and with the tape, a strongest shade of violet to have dark spots on them and also some doubts off being ago - way with brush with appointed deep I take blue and violet mix toe pay. Listen, little clouds by really touching the paper here, you can see that the baker is starting to dry out, so the cloud at the top does not spread the color on this guy. But it's a cry. To quote Bob Ross, this is a happy accident. We now have more variation on our painting, soft clouds and others with defining us final touch. I had the last dark spots with Violet. 5. Hills: Now let's pain the heels. I will divide them into four parts, the first in the foreground, the 2nd 1 with the village, the turd with a few houses and the last one in the distance. Let's start with the foreground. Here you can see the exact color I will use for this part. For the ground, I take chromium oxide or life green and green. From now on, I will refer at this green as dark green in order to not confuse it with the other ones. For the path I will use Rosiana burnt Sienna savior and under. I prepared the chromium oxide in the polit, and they take some of it in the quill brush. I also rotate my sketchbook to facility the strokes. I begin to spread the color with the deep. And then I would more this Isaac Brushstrokes, adding the light green to create variations within the area for the same reason. I also up that green, but without mixing the trick greens too much. I want the different shades Toby visible on the paper. In this moment, I must be very careful not to interfere with the road aria with the deep off the brush full of dark green. I go to other small stripes. Now let's move on the left side, off the road with a mix off chromium oxide and alive green. I define the hell you need silly. I make some stripes near that. Then I introduce some darker color into them while they are still wet, the area in the same way you did in the right side. - I define both parts by adding brush strokes off all I green chromium oxide and are green. - As a final touch, I take the brush number four and this plot their Clearwater on the painting. It will work on Lee, where the painting is still worth moving. The pigment where the drop off water touches the paper and creating small, clear thoughts. I want to play the road still, using thick will brush. I use Roseanna and Burnt Sienna to create a common shape, but they don't make them completely. I like to see different colors on this part, so that it creates a more natural look way number. I docked the gap between the grass on the path there. I continue with the previous collars to complete the road. - I darken the edge with Safeya acting on the still fresh collar so that the old and new colors makes on the paper. Here with the deep off a claim rush, I perfect the dark spots. Let's move on to the second part. This time I will use cadmium, yellow madam or light green and chromium oxide for the ground and Roshan and world number. For the path mix cadmium yellow light green. That's a drop off oxide green and started to paint with the tip off the brush, you can get rid off the excess color. If you have it, rubbing the crystals on the edge of the plate and then proceed. Switch to the area with the village, but avoid painting the structures. Try to create variations in the ground by changing grain and mixing the colors on the paper . Carefully proceed with the tip of the brush and complete the hill with the greens Way Withdraw. Barring it with Born under, it's not important if the previously applied queen isn't completely dry. It can be dump so that in some parts, green and brown will touch each other and makes a little. The important thing is that the area doesn't have to be wet. Way are with bark tree in this section, the reason apart. I will then use a life green, amber and dark green for the soil with the mix off the green on amber. Let's start by painting the third hill. I played a color with the tip off the brush as previously done, leaving the white space for greenery in the foreground that we are going to paint later. Here I apply just a bit off like green to the previous Meeks. - That way, while the previous wash is still well, I put the doctrine to difference. It it more from the second hell that would otherwise merge with this one way are at last hell. For this part, I will only use chrome oxide. A number with the light makes off these true colors defined the last year surrounding houses under village. I took the number eight wrong brush with a very pointed toe. Be able to do this aria. This part is the most distant, so the color I apply is very like 6. Houses, first layer: take this small brush number four with a nice and pointed cape and then start to paint. The house is shadow with a mix off. Roseanna on a drop off sepia. We need a very light mix. Avoid the roofs that we will paint later. I paint all their houses. Also, the side wants. Put a drop off more concentrated Roseanna here and there on the world's next intensify some shadow parts off the houses with a very deluded Sapio with Payne's gray defined the darkest spots and create con trust. Now it's time to paint the roofs for them. I used English red, alternated with Queen Accra, Don't rose and did some red. I'm using only the tip of the brush. I have to be very precise. - I return in some arias, toe paint, stripes, great texture. - I'm back to the houses shadow with Seka. Whoops. A bit too much. I will add the water and apply the color again. Pick up a small amount off, say, Pia with the tip of the brush, and made some small drops on the houses and the tower. I don't like the truth spots on the side of it, so I removed them, just passing the brush on them right away. Final step. Refined details 7. Greenery and Details: Let's not turn to the greenery in the foreground. Take the brush number, hate and start by entering the lightest colors. In this case, the cadmium yellow manual I apply. Eat Onley in some parts. Then I proceed with the greens. I think that green and we're dropping movements. I apply it, eat well, mix with the yellow that it's not dry yet, and we create a beautiful result by merging with it. Their movements are weak and uh, with the deep off the brush. - Now with the brush number four, I'm going to define the area even more. Taking the most pigmented are green and applying eat, especially on the bottom. - I switched to making small brush strokes even in the upper part, - big , younger and release drops of it on the greenery, so that makes us with the green and creates more ity with the brush loaded with the green. I go to create stripes on the heel, and then I learned that this sign they created the stripes. We'd say Yeah, from the term feel. With deep off the brush and a dark car like indigo or pain square, I go to make small dots on the ground simulating cultivated land with the carbon oxide on dark green. I paint vegetation near the small village, highlighting the shape off the office with robbing movements from the bottom. Going upwards. Quit the typical services off the Houston landscape, and they place them all along the road and around the village. - Always using this small brush, I take the yellow and with the side of the brush. I put the color in the foreground because they want to create even more authority in desire area for the opposite part. I think that green to create shadows under the greenery. - I keep adding small, dark spots around the village and they still dark and the shadows. - I'm not satisfied yet, so I add more vegetation now that the trees in the foreground are try. I paint the foliage with pain, Skway. 8. The Grass: trying to paint the grass for this purpose. I'm using the Filbert grass come by the brand silver brush. It has a particular form of Bristol's that almost you toe may very well shapes like grass or four. I think that really from my wallet and the brush into it, making sure that the amount of water is low. So let's start doing brushstrokes. I'm off the brush with fast movements from the bottom, going off worse and likely back to the paper. The brush is about 90 degrees from the paper so that only the deep doctors, as you can see the grass texter is revealed. - I just some arias toe paint talks off grass, and I are transcribed to the Knicks. But Onley in IRAs that are very close to the observer in this arias can there to pay grass blades much longer. Why, in the more distant parts, I will be much more careful toe make shorter movements. This is a very long process. I go true. There are several times until I get the resolute. I want E. I love quest that creeps in the path. I think it drives a year off a little use road in the middle off nature in the most distant parts on Lee the brush. - Now it take the handle off my flat brush because off its particular form, they scratch away parts of caller from the fresh pain to create points of light without the use off white. For this matter, you can also use the nail of the index or the handle off other rushes to get the same effect. I want the core better off the heel Toby well defined. So I being the blades off grass on the edge of meat with dark green. Here, the brush trips must be very small income just to those in the foreground. - I keep upping texture on the left side, off the main hell. - I add more blush, brushes off grass in the foreground and is before I scratching the color away. - Now I think small brush number four with a nice state and with safe Yeah, I pay tax spots to graze the contrast on the border 9. Final Details: protecting the sky area and the hills in the back splatter six spots with a small brush number four way with whitewash. I repeat the operation I liked great this effect on the ground with the same brush. I paint some blades off grass in the foreground way dark, decent rule, with Sapina concentrating on the nearest spark so as to difference it it at the meeting point off the true levels. - Now with the black fine liner dear a point off five. I created dark spots that separate windows. Moreover, being very careful, I did find some corners here and there. - I create the mark on trust on the road by defining shaded areas under the grass. I go back to the house is to create a text turds on the roofs, with dots and lines returning to the small brush. I have vegetation around their houses and more darks. Thoughts with savior wait very diluted number quit texture on the mostly some field and then I add more cypresses. - Time for the birds. Now, with the technique I show you in my first class auto paint. Easy watercolor see escapes. I paint flying birth in the distance with just a flick of the brush. If you haven't seen my first class, I recommend you to take a look at it, even if the subject off this escapes isn't your favorite, because in the beginning I went over some basic techniques that I think you'll find useful in. Many situations like this one were just about to see in action used to play in the birds. Time to sign the band is one of the most satisfying moments, because it means you have completed the painting way our with our view of a typical to Scania in heels. 10. Thank You! / Class Project: now it's your term. Spend your own to sky and landscape with the hills and villages were free toe Get inspiration from the photos I give you in the resources. I can't wait to see what you guys come up with. If you share your project on Instagram, be sure to talk me at caramel citi dot art in the photo and avatar stock scarcer with Sarah so I won't miss it. Thank you so much for watching this class. I hope you like it. No. Forgot to upload your painting in the purchase, calorie. See you next time, toe.