Watercolor painting - Sunset Winter Landscape Painting step by step | Shiba Basan | Skillshare

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Watercolor painting - Sunset Winter Landscape Painting step by step

teacher avatar Shiba Basan, Art lover, Art influencer and Youtuber

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 (39m)
    • 1. Introduction

      0:33
    • 2. Materials Used

      1:28
    • 3. Working on the First Layer

      7:40
    • 4. Working on the Second Layer

      6:01
    • 5. Working on the Third Layer

      3:39
    • 6. Painting a Tree

      6:15
    • 7. Drawing Leaves and Details of the Sky

      4:31
    • 8. Adding Shadows and Branches

      5:21
    • 9. Adding Final Details

      2:49
    • 10. Final Thoughts

      0:58
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About This Class

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This is a Watercolor painting class where I will be drawing a beautiful winter sunset landscape. And I invite you to join me on this beautiful art journey where we will together draw watercolor paintings using simple watercolor techniques!

These simple and easy watercolor techniques will help you 
in getting your painting done quicker and faster.

Today, I’m going to show you my process of drawing and painting simple 
Winter sunset landscape with a step-by-step guide. 
This class is for the intermediate and advanced artist, hope you will enjoy this class.

Art supplies I use:-

  • 300 GSM A5 Size Paper 25% cotton (I have used Brustro Brand Paper, you can use any brand 300GSM paper)
  • Mop Brushes No. 0,2,4 (I have used Brustro Brand, you can use any brand)
  • Synthetic Soft-aqua round Brushes No.8 and Rigger Brush no.4 from Sennelier Raphael ( you can use any brand)
  • Synthetic Soft-aqua Flat brush 20mm from Sennelier Raphael ( you can use any brand)
  • Windsor and Newton Cotman Watercolors (12 Shades basic)
  • Masking tape (1/2 inch)
  • Two Tubs of water
  • Hair Dryer
  • Paper napkin to clean brushes

Join the class and enjoy watercolors!
And Don’t forget to follow me on Skillshare. 
Click the “follow” button so that you get my latest notification of new class as soon I upload.

Join me on Socials (Link)

See you soon, Bye.

Meet Your Teacher

Teacher Profile Image

Shiba Basan

Art lover, Art influencer and Youtuber

Teacher

Hello, I'm Shiba basan, an Art lover, Art influencer, and Youtuber from India. I'm also the creator and Illustrator behind Draw ith Shiba, Paint with Shiba, and Art and Sketch Youtube channels where I make Watercolor, acrylic and soft pastel, oil pastel, and pencil drawings. I live in Kolkata (India) with my Mom and brother and I must say it's a beautiful place with a rich cultural heritage.
I had worked with many mediums, but a special place goes to watercolors because we cannot control them and their results are unpredictable. They have always kept me excited, and Every time I try, I get a new experience.
My passion for paintings and drawings has always kept me energetic and helps me in trying out new things with more confidence. On the other side, when I am free, I am with my p... See full profile

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Transcripts

1. Introduction: Hi friends, thanks for joining the class. My name is Shiba. I'm an artist instructor, art influencer, and a UTI. Well, this is my second skill, Czech glass and I'm very excited to share a very beautiful painting with you all. In today's class, we will learn how to draw a beautiful winter landscape painting using what Douglass. I will give you some step-by-step guide and walk you through my materials so that you can also follow along. So without wasting time, let's get started. 2. Materials Used: Hi guys, welcome back. So in this part we will discuss what are the materials we will be using for this particular painting. The people which I'm using is a 300 GSM cooled press people, twenty-five percent CO2. E5 says, You can also use a 100% cotton paper, but keep in mind that you have to vet it thoroughly before application of beans. For the watercolor paints. I'm using a Windsor and Newton kaufman. These are the US well sheets and these are very beautiful colors, highly pigment it. For the masking tape, I'm using a simple masking tape, half-inch, and a hair dryer. Here I'm using a two types of water. One to clean my brush and the other one as mixing medium. For the brushes, I'm using three mop brushes with number 420. These are good brushes from brushstroke might be, it's not available somewhere in other countries, but you can use any available brushes you have. For detail purpose, I am using two brushes. E1 is the rigorous and other one is the round brush from Sinaloa raffle, these artificial hair brushes, but they work very fine just like normal National HIV. And the number which I am using is 84. And for the flat washes I'm using are 20 millimeter flat brush from soft aqua. So these are the materials which we will be using for this painting. So without wasting time, let's get started. 3. Working on the First Layer: Hi guys, welcome back. So in this part we will work on the first layer, but before that we will draw our basic sketch. And also we will apply masking tape all around the people so that we could get the clear edges at the end of the painting. While drying, be very loose with your sketch. Don't apply a lot of pressure. Since draw the basic outline of your painting. So you can see like I have not drawn very detailed sketch. Just I draw some guidelines so that I can follow those guidelines when I will be printing may landscape with our sketch, so it's time to apply water. We will be using a wet on wet technique. And for this, I am applying the Water Act first. The brush which I'm using is a 20 millimeter flat brush from Sinaloa raffle. If you're using a 100% cotton, people just apply to wash of water because this will help you in getting your people read thoroughly and that will stay wet for a longer time. So it seemed to work with colors. The colors which I am using is cadmium yellow mixed with Crimson. And you can see like Michael lays looking a little bit of a law. This is only because I have used crimson less and cadmium mode. But slowly as we move averts with the next color, we will be using mode of crimson. So as you can see on the screen, I'm applying the colors very loosely. So we will avoid rubbing of brush onto the paper because it destroys the paper. Now we will apply a little bit of purple to this guy, but we don't have that. So we will mix crimson red with ultramarine blue to get the color. We will apply it very softly onto the sky and similarly onto the ground. So you can just change the amount of crimson or the ultimate in blue to get different sheets. As you can see on the top of the sky have increase a little bit of more ultimately in blue to get this beautiful color a little bit darker than the previous color. So now I am applying a little bit of Docker tune to the ground. And for this, I've added a little bit of intense blue to the mixture of crimson, red, and ultimately didn't block. I am applying the same Docker tone to this guy that is in dense blue mixed with the crimson red and ultramarine blue. And I'm slowly digging down the color that my brush to create a beautiful gradation effect. You can save just like a small adjustment. Draw the clouds. And it's very important to understand that we will be drawing the clouds or when the people is still wet. This will help us to get those blurry clouds. And the colors which I am using is crimson red mixed with ultramarine blue and in dense blue. So we will try to keep the currency and read a little bit more so that we could get some red clouds close to the sun. I'm also drawing a little bit of orange clouds. For this, I'm using a cadmium yellow mixed with cadmium red. To get different shades of orange, you can either increase the amount of cadmium yellow or you can increase the amount of cadmium red to get different sheets. And we will apply it very loosely. And yes, so we will apply it when the paper is still wet. So you can see like when I'm applying the mixture, cadmium red mixed with cadmium yellow at some places, I'm getting a little bit of ground tend to it. This is only because of the blue color which is at the background. So let it be the way this coming. It's a very natural process. This asteroid realistic next to your painting. It's time to add a little bit of orange to the tree. And for that we will use the same mixture that is cadmium yellow mixed with cadmium red. We will also pick some extra color using a damn brush. In this case, I'm using my brush number 0 to draw sundries. Could draw their dark clouds. I'm using a little bit of intense blue mixed with crimson red. And we will apply only at areas where it is. And you can see I'm getting a little bit of bloody clouds. It's only because my paper is still wet. It's time to add some shadows to the cloud. For this, I am using the same mixture that is crimson red mixed with intense blue while drawing the cloud. So we will only add shadows on those areas which is away from the sun. As you can see on the screen, the clouds which are on the right side, I am drawing the shadows on the right side. It's only because the left side is getting a little bit of sundries. So those bushes will relate in color. And for the cloud which is at the top, I'm drawing the shadows on the upper side because the lower side is getting the light from the sun. So while drawing the cloud, tried to keep your brush a little bit loose because this will help you in getting some natural clouds or which are a little bit irregular in shape. So this is all about the sky, the ground part we will cover in the next session. So let's move on to our next part. 4. Working on the Second Layer: Hi guys, welcome back. So in this part I will be working on the second layer. So we will start with this guy at first. I will be working on the sky at first. So we will only read the sky area using the flat brush. In this case I'm using are 20 millimeter flat brush. We will read the paper only when the previous layer is totally dry, otherwise, the color would come out. For the colors I'm using in dense blue mixed with crimson red. And slowly, we will apply it to the upper portion of the sky and bring it down using the mob brush number two. Just to create a beautiful gradation effect. I will be adding some darker tones to the cloud when the paper is still wet. This will help us to get some blurry clouds, which will further make the building look more realistic. While drawing the clouds, try to keep your brush and letter but laws, because this will help you in getting some irregular shaped clouds, which will look more natural. As you can see, I'm making some small adjustments. So once it is done, we will try it with a hair dryer. We will also try to adjust the colors and using water. Now it's time to dry the layer. So now it seemed to work on the ground. For this, I'm using a same mixture that is intense blue mixed with crimson red. And we'll also add a little bit of ultramarine blue at the corners. The reason we added ultramarine blue at the corners is that because the ADL, which is away from the sun, is getting less amount of sundries. So this is a reason it will look a little bit more blue. For drying the shadows of the tree. I am using the same mixture that is Goodson dread mixed with in dense blow. But this time I'm adding a little bit of ultramarine blue as well. Why did right in the shadow of the tree, we will try to maintain the shape of the tree. Now I'm adding a little bit of more shadows on the left side just to show that the shadows of the branches are falling on the ground. The portion of the shadow which is close to us, we were to add a letter Rudolf more saturation and contrast. Just by adding a little bit of more intense blue mixed with crimson red and ultramarine blue. And at some places we will blended using water. So this is all about the second layer. Once we are done with this, so we will try our painting using a hair dryer. The drawing of the tree we will recovering in our next part. So thank you so much. 5. Working on the Third Layer: Hi guys, welcome back. So in this part we will work on the third layer. Basically, in this part we will be working on the deals. And for this I'm using a detail brush, which is around software published from Sinaloa and the number is eight. We will start by drawing some small trees and classes from the origin and the colour which I am using is intense blue mixed with crimson red. Just draw some basic shapes of the tree. The VM drawing, as you can see on the screen. At some portion I'm applying the color in saturated thick form by adding a very less amount of order. But at some places, I'm applying the color in a very dilute form. The oceans. We have applied the mature in a diluted form. Once it is re, we will be applying the same mixture to make the shadows. I've also added a little burnt umber to the Mishnah, often dense blue and concentrate for the trees which are closer to us to make them look more darker. We will apply the colors very busy and we will not be concentrating on the forums and structure. And we will just apply it in an irregular way to create some natural looking ships. So now we will add some shadows to the trees. For this, I will be using the same mixture that does the Musharraf in dense Bluemix trip from centric. But this time we will apply the colors in a pig farm. I've also added a little bit of viridian green at some places. And at some places I've added to the mixture of crimson, red and in dense law. This is only because it adds a little bit of contrast and beauty to the building. I hope you've enjoyed the session that drying of the tree and the details we will be covering in our next session. And I hope to see you there. Thank you so much. 6. Painting a Tree: Hi guys, welcome back. So in this part we will be drawing a tree. I will mix in a new set of colors. For this, we will create a space by removing the old colors on the ballot. And the brush which I'm using is a raffle soft at Gua round brush number eight. The colour which I am using is cadmium red. As you can see on this screen slowly we will add a little bit of crimson, red and ultramarine blue to the cadmium red to get different sheets. So one thing is, one thing which is to be noted is that I'm applying this darker tone when the color is still wet. So this was the center portion of the tree, but slowly as we will draw the upper and the lower portion of the tree, we will be adding some darker tones. For this, the colors which I will be using is intense blue, von Dunbar, and crimson red. For the trunk of the tree. I am using the same color that is intensive Bluemix with bond number and concentrate. So you can see the tree is looking a little bit darker in color. It's good because the things which are close to us, we'll look a little bit dark. For the branches and the upper portion of the tree I am using the same color. You must have noticed that I am going very slowly while drawing the tree trunk and the branches. Because once you do a mistake at this stage, it's very hard to get it back. So do it very slowly and be very thoughtful while you're doing this. So apply color only when it is necessary. In other way. Don't draw excess blanches tried to maintain the basic autonomy of the tree while doing the blanches clade to draw them in a way as they are moving upwards. The branches which are coming out of the trunk mostly go in the other direction and then it goes down as they gain weight because of the leaves. Other thing which is to be noted is that branches, they go tin, tin as they move away from the trunk. The branches which are at the top and which are at the extreme ends, will be thin. For drying the branches, I am using the same set of colors that is burnt umber mixed with intense blue and crimson red. I actually avoid using black in my paintings. So by day, if you add burnt umber, two intense blue, you will get a colour which is very near to black. For detailing purpose and for drawing some tin lunches. I have just shifted my brush to a pin, which is our triggered brush number for this village is also very good and it is from Sinaloa refer for during the branches I am using the same set of colors that is burnt umber mixed with intense blue and crimson red. It seemed to make some small adjustments here and there. Once I'm done with the adjustment, I will drive layer. You can see like we have covered the basic shape and the structure of the tree. The drawing of the leaves and more detail of the branches will be covered in the next session. And I hope to see you there. Thank you so much. 7. Drawing Leaves and Details of the Sky: Hi guys. In this part we will draw some leaves and we will also our dielectric odometry deals to the sky. As you can see, I'm drawing very thin branches using a trigger brush number four. And the colors which I am using is intense blue mixed with crimson red unbound number. So you can see on this screen as we will move away from the tree, we will reduce the thickness of the branches and the branches. So we'll be very pin at the edges. Once we are done with drawing the branches, we will draw leaves. For this, I'm using a mob brush number four. For drawing leaves. I'm using a grave brush technique, but the brush which I am using is not totally dry. I have removed the extra order from my brush using a globe. But yes, it was earlier. So you can see I'm using a damn brush, very less amount of water in it. For drawing the leaves. I am using a mixture of crimson red mixed with intense blue. We will not be drawing every single leaf. Instead, I will nab the tip of my brush onto the paper to create an effect of leaves. For the shadows of the leaves, I will just increase the thickness. In other words, the saturation retaking some more pigments off crimson red mixed with intense glue. And then we will a plate. Now I'm adding a little bit off cadmium red, and now I'm adding a little bit of cadmium, or now I'm adding a little bit of cadmium yellow and cadmium dread. But the portion of the tree we're actually, I want to show that the sun's rays are coming through. So the branches as well as the potion of the trunk which is close to those sundries. We will make them a little orange or yellow in color. To blend the colors, we will take the help of Florida. I feel the cloud should be more orange as I'm drawing a sunset scene of window. So we will be adding a little bit of more redness to the sky. For this, I'm using cadmium red in a very dilute form and will slowly apply to the sky at the horizon. And we will blend this orange using water because we don't want any hard edges. I will also add a little bit of redness to the ground. For this, I'm using a mob brush number two. The caliph, which I am using is crimson red. We will use this crimson red in a very dilute form and apply it to the ground and we will spread it with water. You can also pick some extra color if you feel like you have mistakenly applied it onto the paper in a very saturated form. In this case, they felt that the Crimson was a little bit more. So I was speaking it out using our damn blushed number to try to keep your blue screen every time you pick up the color. So now it's time to dry up painting using a hair dryer. I hope you have enjoyed the painting. If you have any questions related to this, you can ask me in the discussion and I will be happy to answer that. Thank you so much. 8. Adding Shadows and Branches: Hi gays. In this part we will be adding some blanches and we'll also draw the shadow of the tree. Let's first work on the shadow part of the tree. As you can see, I've started my been dealing with the multiplication number, do the colors which I am using is in dense blue mixed with concentrated, we will slowly apply onto the idea with the shadow of the trees falling. All the areas where the shadow is falling. For the blanches I'm using. And the colour which I am using these in dense blue mixed with concentrated. You can see I'm making a small adjustment to the trunk of the tree because I felt that dark-colored didn't blend DAC. For the adjustment, I'm using a damn brush number 0. First I have removed the color using a damn brush. And now when I am applying the same color, that doesn't dense Bluemix to it. Using the same brush. We will also add a little bit of branches to the leaves to make the tree look more realistic. Let's mix a little bit of Clemson but burnt sienna. And we will apply to the trunk of the tree where the sundries are coming. Again for the branches of the tree, I am using the same food. And we've show which I am using is crimson drag mixed with in dense glue for disdain vivid draws some branches out saved leaves. So yeah, see Lake I'm drawing every single branch very recently. And we will also connect them to the specific branches. So you can see I'm trying every single branches efficiently and I'm connecting them to the specific lunches. I hope you have enjoyed the being dean and drawing up these leaves and how to make these small adjustments required. In the next part, we will add some final touch to the building, and I hope to see you there. Thank you so much. 9. Adding Final Details: Hi gays, in this part we will be working on the due date is starting with the tree. I am using a mixture of concentrated mixed with intense blue and adding onto the tree. Also I'm adding a little bit tougher branches on the left side. I feel like the three should have a little bit of a dark shadow close to the trunk. So I'm adding an attribute off mixture there as well. For the shadow, the trees WeChat are distance. I'm just adding a little bit off in dense blue mixed with water and adding it to the ground, clues to the trees. I'm also adding a little bit of it in dense blue to the shadow of the tree to make it look Data good. For adding texture to the bending, such as throwing stones and wooden logs. I will be using the same mixture that does in dense blue mixed with Clemson drain. Now I will be drawing the vote analogs for this. I'm using a Musharraf von Dumbo mixed with him dense Blue and a little bit of grim centroid. For this three, I will be using the same mixture that is in dense blue mixed with grim syndrome. But you can see that the amount of Goodson radius mode, this is the reason the shadows are looking a little bit red in color. I hope you understand and enjoy the beam, Dana, and I hope you will give it a try if you do, don't forget to submit your project in the project gantry, I wouldn't be commenting on each one of our project. So stay tuned. And I see you in the next video. 10. Final Thoughts: Hi friends. Now it's time to remove the masking tape and reveal our painting. But before that I'm just adding a little bit of shadows to the leafs using the mixture of intense blue and crimson red. Once we are done with this, we will remove the masking tape. I hope you have enjoyed the painting and I hope you will try it. Don't forget to share your painting in the project gallery. I will be commenting on each one of your artwork and you can follow me on Instagram as well as on YouTube. I have a YouTube channel with named Robert Shiba. You can visit that I will be more than happy. And last but not the least, PCV stabilised and enjoy painting. Thank you so much.