7-Day Watercolor Landscape Challenge: Master Seasons and Techniques

1. Introduction: Hello, I am Zeha as a watercolor artist and instructor. I had the pleasure of teaching and holding workshops across different countries and connecting with citizens both in person and online. And landscape painting has always had a special place in my artistic journey. I refine my own approach through years of practice, travel, and observation of nature variations, and landscapes are one of the richest and most expressive fields in watercolor. It allows artists to explore light, atmosphere, texture, and emotion. All within a single scene. And unlike other mediums, watercolor breaths with the landscape, it is a dance between the control and spontaneity. And in this class, we will be painting seven beautiful landscape scenes, each one inspired by nature, different seasons and unique light and color modes. Think of this class as a creative watercolor challenge. Every day you watch one lesson and complete a full painting from start to finish. We will start with the materials. And then in our first painting, we will paint a foggy lake using just one color. You will learn how to create atmospheric depth and misty effect using only volume and tone. In our second painting, we will focus on warm gradients in the sky and mastering right on white technique for reflections and subtle transition. Next, we will move on to Northern lights. You will learn how to gently move pigment on wet paper to create flowing luminous skies, plus how to paint snow covered trees. In the fourth painting, we will dive into a cold forest. You will explore warm and cool tones to create depth and atmosphere. Our fish lessons features a dramatic night scene. You will experiment with bold color combinations. The sixth painting, we will paint a winter landscape in soft pink and purple. You will learn how to build gentle gradients, create sunlight, and paint delicate shadows and tree branches. Finally, in the seventh scene, we will create misty autumn landscape using simplified shapes, and you will learn how to create atmospheric perspective and paint pine trees with yeast. You will also learn how to use variet of color palette tests, how to reflect different seasonal atmosphere, and how to choose the right techniques to match each scene. Class is perfect if you want to improve your watercolor skills, build a daily painting habit, or simply enjoy the calm of painting nature. Whether you are a beginner or have some experience, you will find this class in spraying, relaxing and full of hassle tips. So grab your brushes and let's start painting together. 2. Class Orientation: Welcome, and thank you for joining this class. I am happy to have you here. And in this class, we will be painting seven different landscapes, each designed to help you explore new techniques, color combinations, and seasonal atmospheres. Think of it, this is a watercolor challenge. Each day you will complete a painting and share it as a project. And by committing to paint daily, you will build a steady habit, improve your brush control, understand watercolor more deeply and feel your confidence grow with ever painting. In your projects, I will be looking at how effectively you use watercolor techniques we learned and how you capture the feeling of the scene through light, color, and composition. And I will be offering detailed feedback on each piece you share to help you grow and refine your skills. I was editing the sects, reference photos, and color combinations we will be using to the project section of the class. So you can refer back to them anytime. Now, let's talk about the materials. You will need watercolor paper, preferably 100% cotton. And these are the color we will use. Feel free to use similar colors from your palette. As for brushes, we will use one big mop brush, one natural bristles round brush. And one in front brush, you will also need a cup of water, spray bottle, napkins, a pencil, and an eraser. By the end of this class, you will have seven beautiful paintings and a deeper understanding of watercolor landscapes. And whether you are a beginner or experienced artist, this challenge will push your creativity and improve your skills. And I'm so excited to have you join me. Let's start painting. 3. Day 1 - Misty Serenity: Hello, on. Today, we will be painting this beautiful misty landscape. To start, we need to wet the paper generously. And for that, we will be using a big brush. And since this is a soft atmospheric scene, adding plenty of water will help to create that misty effect. And for this painting, we will be using just one color, and I'm using neutral tint, but you can also use any dark blue or gray shade that you prefer. Make sure there are no puddles on the surface of the paper. If needed, you can remove excess water like this. As for color, I am using neutral tint, which is a bluish gray shade. And if you prefer, you can also use paints gray or indigo. And I will remove any water one more time. Alright, now I am going to paint the first layer, the soft glow in the background, just like this. I want to make it a little bit darker. And here, I will separate the pigments like this. Okay. And for this one, for this part, we are going to use same color, but only up part of the horizon near the part. And a little bit here. Now, we will create mist effect by lifting the pigments like this. Moving on the bottom part, we will just add the color directly. And you can see I'm using my brush horizontally. Like, I came to this part. And we need to leave this space white because there's a mist in there, and we will use the whiteness of the paper for this. For the top part, I am going to add a little bit more shadow for the clouds. As we paint the lower part of the painting, the top of the paper has dried slightly, reducing its moisture. This is actually great for us because when adding shadows to cloths, we don't want them to separate too much. The shadows should have soft edge, but also stay in place where we apply the paint. The paper moisture level is crucial here. If it's too wet, the paint will disperse quickly. That is why we need to keep an eye on the paper's dampness when we continue painting. A little bit here. And here for this part. You can see this part right and it has a hard edge, and we need to soften the edge of this part with the damp and clean brush. To add more depth to our background, we need to work on shading a bit more. For this, we will take some more paint, but as you will notice, we are not using too much water. The paint should have a creamy consistency, meaning it should be rich in pigment with minimal water. And we will continue adding darker tones to the lower parts of the painted arrals and my paper start to dry slightly. But since I want to work on the background a little more, I will lightly spray clean water over it. If your paper has dried as well, you can use a spray bottle to reintroduce moisture. And we will keep working with the same creamy paint consistency. To create a misty effect in the background and enhance the dp, we need to use tunnel variation effectively. And this is why we are layering darker tones gradually to build up the effect. And from the bottom part, I wet it again. I will create tiny lines on the paper like here. And on the part also Tin and long line on the bottom. I will take more big mans. If you want, you can use a fine brush on the sp. It will be more easier for you. Now we are moving on foreground elements, adding details like bushes and small plants. And at this stage, the paper should be slightly damp, not too wet, but not completely dry either. We will be working just about the horizon line, and we are adding some bushes on the right side here. As you can see, we are using a highly pigmented mixture, working with a rich, intense paint consistency, and we are adding small tiny plants. And on the left side also. And be sure to keep these details above the horizon line and avoid letting the paint separate downwards onto the lower part of the paper. Me natural tint. We will work with the darker tones. Little bit here. And here. The paper is still wet in this part. You can see the paint spreads a little bit, and we are separating the bristles of the brush like that. It will create some foliage on this side. I think it needs more darker stones and here. Okay. I think for the wet part, this is enough. I just only want the smooth this part. And I will use lifting technique for that part. I just wet my brush and clean I'm taking the excessive paint. I'm just rubbing the paper, removing the pigments from there. And after every brush it took, you need to clean your brush and take the excessive water with napkin. Okay. Now, I will let it dry and we will add the foreground elements later. Now that our paper is completely dry, we can move on to foreground elements. We will start with the trees. So let's prepare and paint mixture. And the consistency should be similar to milk, not too watery and not too thick. It should have a smooth folw texture. We will start on the left side of the painting and imagining a tree trunk in this area. However, we won't be painting the trunk itself, just the leaves. And instead of drawing, we will use our brush to create the foliage. And at this stage, a fine tip brush will be more effective. Think of the leaves as the similar dose of the pine tree, and using just a tip of the brush, we will create small scared dots, leaving some gaps in between. And I change my brush, and this one has softer bristles. It is a wafer brush, and it is better suited for painting three foliage because it is flexible, bristless create more natural organic effect. I'm going to a little more paint while it's stil wet. And for the top part and the middle part needs to be darker. And when we go to downwards, the color tone will be light. When I come to the here, I'm thinning the eggs, adding small leaves here, and I will leave some white spaces between wounded part. Now I'm going to add more water. And now the consistency is like a T. I separate the bristles and here I just change the color tone with the water. Now I just add more water on the bottom. And I think that's enough. Only just I want to add branches also here. Now we can move on this part. And on this part, we can see the three trunks and I will paint them like this. And I will soften the bottom part like this. And this one also Again, I soften the bottom part. I want to start with this tree because it is far away from us and we will use lighter tone on them. I just separate the bristles and train to create natural organic looks on the leaves. Now we can move on the other tree. And for this tree, we will start by adding small dots on the top, very small and tiny dots. And as we move downwards, the branches and the leaves will become denser and thicker. Atate using a natural brises brush is important. By slightly separating the brises, we can create a more realistic leaf texture. And this tree is near to us. Because of this, the color tone should be darker compared to other tree. And if you more here, A little bit here. Small dots. And now we will add small branches. Oh. And I want to add one tree trunk here like this. And small branches on it. I'm using only tip of my brush. We use darker tones for the upper part of the tree. Now as we move downward, we will gradually lighten the color. Just like with the tree on the left, we will work with lighter gray tones. And to achieve this, we will add a bit more water to our paint mixture. Once again, we will create texture by separating the brites of our brush. A little bit here, small dots. And on the bottom. And once again, we will soften the bottom part with the damp brush. I will start with the bot and now we will paint this part first. And this part needs to be more lighter. Yeah, I think the tone difference is good. And now we can move on the man. For his head, I'm going to use darker tone, same colour, neutral tin. Let me go downwards. I will just move the big mass downwards. We need to add more duct tones on the top. And I take the pigments directly from palette I's thick. And I just add shadow here, and here under the arm and here. Now we will work on dry paper, and we will use dry brush technique. We will just add a reflection using the same mixture, but in lighter tones under the bod, it will create texture and more depth, and I think we need to add shadow of him in lighter tones, and we need to soften the edge of that shadow with the damp brush. And I think that's enough. We created beautiful landscape and see you in the next lesson. 4. Day 2 - Golden Dusk: Hello, everyone. Today, we are going to paint a beautiful winter sunset with the river. And I put small dots of mussen fluid here for the sun. And let's start. First of all, we need to wet the upper part of the horizon line with the clean water. Do not press too much on the muskin polute. Mine is already dry. But still, we need to be careful. We will start painting around the sun. And for this, we are using Hansow applying it in a circular motions. And around the masking fluid, we applied Hanseello and now we will add little bit brilliant orange to the same mixture and continue the painting with the same circular strokes. Now we will add vermilion, a warm red colour around a brilliant orange. No way. This part is already dry. I need to wet it again. Okay. After vermilion, I will add a little bit permanent rose. Me permanent rose. And at this your paint mixture should be creamy very thick. And you can see I use directly from the palette and more permanent rose and little bit cobalt to make the purple colour. Right. This side also. After that, in this part, I'm going to use brilliant orange in the spar and more orange here. I mix the colors. In that part, I will add a little bit permanent rose and orange together. After that, I will add a little bit cobalt pu to the mixture here and more cobalt and rose and more cobalt a little bit more. Two and here this part and I am going to blend them to each other. Tops. Let's fix this part. Now, while our paper is settle wet, we will add clots near to the sun. For the cloths I'll mix cobalblue with Aizarin I need a bit lavender too here. In this part, your paper should be wet enough. If it is dried already, you can dry with the blow dryer and then you can wet with clean water again. After that, you can make your gloves. You can see this part is dry and I will soften the edge now like this. When painting the clots, the paper should be slightly damp, not too wet and not completely dry either. And at the same time, our paint mixture should have a thick creamy consistency. And if the paint is too watery, it will push away the first layer of color when applied and creating unwanted white spots. That is why we are using a more concentrated mixture for the clots. And here we will use more cobalt blue, a little bit here. I think that's enough for the class. Now we can add the small trees in the background. The lower part of my paper is completely dry, so I can start painting right away. And if your paper is still damp, you can use a hair dryer to speed up the drying process. We will add indigo to the same paint mixture. And now the paint mixture should be like tea. It shouldn't be very thick. And I separate the bristles, creating small dots for the trees on the background. And I think that's enough, and now we can move on to the bottom part to the river. For the river first, we need to do that part with the clean water carefully. We need to stay inside of the pencil skage because the other areas will be the snow. We don't want to paint, go there. Now we will actually repeat the same process we use for the sky. We will start painting from the sun's reflections. Right where the sunlight reflects, we are using Hansa yellow again. And if you notice, I left the brightest part completely white and try to keep that light and gradually add yellow around it. And I think we need to soften the bottom part a little bit. And then we will move on the orange color. Brilliant orange. Like this and like this. After orange, brilliant orange, I will just add opera pink. But if you don't have opera pink, you can use a rose color too. I'll just mix with the brilliant orange. Okay. That's it. Now we can move on to other colors. Orange. And permanent rose. I'll just add and here permanent rose again. Oh And in this part, I'll mix permanent rolls with indigo more permanent rolls. And in that part, I'm going to use Brilliant orange again. Here this part. For the vase, I'll just mix indigo and rough color here. The part. You can see my brush is very thin and I'm just adding and the tone of the color should be very light also in this part also a little bit more here. We had left a white area for the sun's reflections, but since we work with a white technique, the yellow paint spread into that space. So now we will lift some of the paint to bring back that brightness. And for this, we are using a clean and damp brush and gently rubbing over the area will help the lift paint, and this is called the lifting technique. And to remove even more pigmt, we can also press a tissue onto that surface. And now we can move on to snowy area. And for that, I am just mixing indigo, a little bit fit Blu we will prepare a light bluish purple color, and a little bit red. And the paint consistency should be like T, and we will start from the right side. You can see I'm working with very light color, and we will just cover this part. And I'll take a little bit purplish color. And here. This is our base color. Now I will mix more pigmented paint mixture for that alto rose rose color, and ultramarine sorry, this is pico blue. Rose and ultramarine. And a little bit cobalt. You can see it's the texture like cream. Now I want to add texture, more ultramarine here and the paper is sitting wet either way near the edge of the river. This part and I am separating the bristles, I just touch. And this part already, and we need to wet it again with clean water, and now we can continue to work. Actually, these are our shadows of snow. We are using the same color. And on the age of the river, we are adding little bit dark tones, and now I'm using sepia for that. And, bit here and on this side. I think this part is very thick. We need to soften the eggs a little bit. Now we can move on the foreground. We will use the same color mixture, and now we are creating a base for the snow. Be careful to eggs on the river, and we will follow the same steps. After that, we will add the shadows. Yeah, that's it. Now we can move on the sun let's remove it. Okay. After removing the masking food, we need to soften the eggs of the sun a little bit up too much. With the clean and then brush. Okay. That's it. Now let's move on the background trees again. For that, I'll just add sepia to colored mixture. We previously painted a small mountain in the background, and now we will add some trees in front of it. And these trees will still remain in the background. So we are just creating the impression of trees rather than painting them with too much detail. If we add too much detail here, it could create visual clutter when we paint the foreground trees later. And as we get closer to the sun, we will make the tree slightly smaller to maintain the balance and ensure they don't block the sunlight. And I just add sepia to the same mixture. I think that's enough for the background. Now let's move on this big tree. For that, I'll just mix sepia. I'll change my brush because this has more fine tip. Sepia indigo here or paint gray you can use. A little bit red. And now we will start with the tree trunk. First, we draw a thin line from bottom upward, and then we gradually then this line to form tree trunk. And as the tree grows taller, the tree trunk should become thinner. And also the branches should be very thin. First, we will paint all the branches before edding the leaves. And now we can move on the leaves to create a natural leaf texture. We press the bristles of our brush against the palette to slide the separate them. And using the same paint mixture, we tap the brush tip onto the paper to form the foliage and don't forget to change the direction of your brush strokes because this prevents repetitive patterns and helps achieve a more natural look. Now we can move on the other trees on the right. Again, we will start with the tree trunk, and these trees will be smaller and shorter. And another tree branch here. And for the leaves, we are separating the bristles in the same way. And please do not cover the sun when you are placing your leaves. And we are combining these two tree leaves together. We are just eating the leaves of other tree. And then we will draw the tree trunk here. Now we can move on the foliage on the snow. We are using the same color. We will just create tiny plants, bushes on the snow and the trees and on this tree, also. And on the edge of the river, a little bit, not too much. And on the background, and on the right side, small bushes. And the bushes in the foreground will be more defined, and we are painting thin tall tree branches emerging from the snow. And these branches will be placed over the shadowed s we previously painted. And by making the foreground bushes more distinct, we will also enhance the sense of depth in our painting. A little bit here, taller branches on the river. I think that's it. Now we are moving on to the final stage of our painting, the reflection of the trees and bushes. And before we start, we will vet the river with the clean water. And this is important because reflections should have soft edges and smooth transitions. We don't want any hard lines in the reflections, so we are working on damp paper. And the paint mixtures should be very thick. Dash with lots of pigments. We are using sepia and paint gray, same tones on the trees. Since the river has dripples, we add horizontal strokes to suggest the movement of the water. And we also reflect the foliage on the water, branches. And leaves and more water small dots for the leaves. Now we can move on to tree on the left. I revet that area again. First, we paint the reflections of the bushes along the river side. And then we add the trees reflections with thin delicate strokes for the smaller bushes. Using a concentrated mix, we tap small dots on the rivers surface to suggest the reflected lay. If your paper is too wet, the paint will separate too much, so it is best to work on slightly damp paper. Now I am, again, painting the reflections on the tree trunk on the right side because the paint separate a bit on this part. And tree trunk again and the leaves and branches. We finish this beautiful winter sunset painting and see you in the next lesson. 5. Day 3 - Aurora Dreams: Hello, everyone. In today's lesson, we are going to paint a winter scene with the Northern lights. You can see I draw a basic sketch for this horizon line and three trunks. And first, we need to wet the paper with the clean water. I think we can this part also because it will be easier to control the paints. And the paper should be wet enough. For colors, we will we will start with indigo or pains gray. I'll choose pains gray I'm starting from the left part. More colors like this. And then I'm moving on to cause color. You can see the color through blue here. In this part, I think it needs more to cause in this part. Okay. Then quibble I want to add a oper pink. It's a perfect color for the Northern lights. If you don't have opera pink, a You can use any pink colour, like rose. Okay, now I will let them to move and just sprint a little bit. And wet on wet technique is perfect for capturing the fluid movement of the northern lights. And the key is to work quickly and avoid overbrushing, allowing the pig mass to flow and create soft and diffuse edge. And to enhance the bending, we need to gently tip the board in different directions and letting the colors merge seamsly and create a natural gradient. And we need to wet this part again. Now we will add a greenish color. You can see it is a warm and light green tone. And if your paper is start to dry, you can spray a little bit water, clean water, and we need to take the excessive pigments and more green on the bottom and more opera I think it needs to be more dark on the top. And we are taking the excessive pigments. Again, we are mowing the pigments. You can see I'm adding more to cost. And now again and you can see I'm taking the excessive bigns with the napkin and then moving downwards, here, here, here. Yes. I think that's good. Now we will paint the bottom part. For the bottom part. I will just wet. First, like that. After wetting the paper, we are going to mix cobalt blue, cobalt, and rose, little using crimson, more cobalt here, this part on this part. These are like shadows on the snow area. And more in that part, here. I mix copacul with the pens gray on the bottom and in the spar Now, I will just take excessivens in the part like that. Finally, I will let them to move upwards. And this is the final shape of the Suki. Now we will let this to dry and then we will paint our trees on it. I just spray a little bit water here. That's it. My paper is dry completely, and now we can move on the trees. For the trees, first of all, let's clean. For the trees, I will use cobalt blue and idle with paints gray. Yeah, that's it. This is for the tree. Remember we just draw the tree trunk and now we will paint the leaves with this paint mixture. I want it idle with lavender too. If you don't have lavender, it is not mandatory. Ex. I'll change in brush with this. Let's start with this tree. I always start with the tree trunk. Now, we will just add small and thin leaves on the top, and they will get bigger and bigger move downwards. You can see my paint mixture is already watery. I move quickly on the bottom, like this. Okay. And mark the tree is still wet. I'll take indigo directly indigo and paint gray. Adding small bots under the tree leaves here a little bit. The paint mixture thick, it's like cream only under the leaves. And a little bit more. Now we can move on the other trees on the back. We will repeat the same steps. I'll take cobalt, go little bit longer too, and I'll draw the lines for the trunk. I follow the same steps. And I'm mowing the other tree immediately. I'm not waiting. And the other one and small one here. And another big one here. You can see my list getting bigger and bigger on the bottom and the small one here. Now, we will add dactns now on the bottom of some leaves. Only a wet area. If your trees start to dry, you can spray water a little bit. I'll take more paint gray. And on this tree also. In this way, we created snowy looks on the trees. That's it and for that, I just take excessive paint and I will add one more here. And this small one here. Now, I will add pins gray. Also I want to soften the edge of this part. Just add directly pins gray. And I think we need to soften this part also. A little bit, not too much. For the softening, I'm using a wet brush. Near to the right, there's not too much water on my brush. Okay. And now we can move on the foreground. I want to add more texture on the stree. I'll just use the color on my palette, light cobalt blue, and I will add more paints gray on the bottom. Here, for the foreground, I'll take the cobalt bolo and create some snowy texture. We need to follow the shape of the stray and little bit here. A little bit here under the tree. And I want it a little bit more foliage. Okay. I think that's good foreground. Now I want to add a little bit satire on the sky. And for this, I will use Guach. If you want, you can use a japan, just paint sky on it. I'll take the Guaj on my hand. After that, I'll take a little bit water, mixing it, and we will just splash. Now, a little bit more. And I want to draw some of them big stars. Small dots. I think that's enough. Seeing the next lesson. 6. Day 4 - River in the Woodland: Hello, everyone. In today's lesson, we will paint a forest landscape filled with the pine trees and a cold misty atmosphere. And before we begin, we need to wet the entire paper with clean water, and this is important because we will using the wet on wet technique for the background and the sky parts. Now let's start with the background first. For the background, we are going to use cool greenish bluish color. For example, for the sky part, I'm going to mix indigo. So paints gray and a little bit two cars and ridian In this part, more ridian I think we need. A little bit amber, amber. And for here, I'm going to use this green. I'll just add little bit protamber. And here, I'll just mix than and bro tamber in this part. I will just add little bit to cost. And in this part, I'm going to add a little bit natural tint. Now, we need to soften the edge of the sky part like that. And I change my brush. This is a small one. Now we are going to add my paper start to dry here, and I just want to spray a little bit, not too much. Now, we are going to add more dark tones. I'll just mix viridian, B tamber, and nitro tint and pins grey. Ops too much, I think. Here, little bit. Here. Here, I will be background leaves. When painting the background trees, we need to create a soft and misty effect. Distance objects don't appear sharp and their forms fade slightly due to atmospheric perspective. To achieve this, we are working on wet paper, allowing the eggs to blend naturally. And here, and instead of defining individual leaves and branches, we are only suggesting their presence with gentle bright to rocks. The colors should be cool and muted to enhance the sense of distance. And by keeping the background subtle and diffuse, we are creating depth in painting, making the foreground elements tend or more vividly. You can see the paper start to dry. There is less moist now and you can see mybras strokes are more visible. You should manage your wetness level of your paper in this part. This part dried already. I just soften. And for the background trees tree trunks, I'll took Betamber, mix it with pin gray, and starting from here, I'm just adding Here, one more. And one more here. This part dry completely. I just want to soften the eggs. No way. Okay. And let's check this part. This part also dry. Okay, let's left this part to dry first and move on the river part. For the river, we will start with the inscriclar here here like that. A little bit green in some parts. More tamber here. And more green colour here in this part. But cas color in this part, we need to soften the edge of the river to make it blurry. And we will cover here with the more warmer green tones first like that. I'll just add a little bit Huns law to the screen. And now we will add our darker toons sepia here. M sepia here. And on the eighth of river And this part also on the back, I will add a little bit more paints gray to the sepia color to make the color more in cool ton, little bit. And more dark tones. We need to take the pigment directly from the tubes. No water. A little bit here. Now we will left part to dry and now we can move on this part. For this part, you will use the same color again here little little bit that warm green from the warm green. This one Okay. We need to soften the eggs, again, like that. Okay. And it's time to add dark colors. I'll talk sepia, and I'll just separate the restless little bit. Just add texture. And on the edge of river, you need to darken. Now we can add the background trees.For that, we need to wet the paper again with clean water. Your water should be clean in this part. And here Okay. We bet the paper. Now we need to wait almost ten second for the paper to absorb the water a little bit. And for the background trees, I'll take sepia and a little bit pins gray Let's check. And this one the paper is still too wet, and I think we can start with the background trees. And when painting background trees always work on a wet paper. This ensures that the trees have soft edge and seamless transition to create natural atmospheric effect. At the same time, your paint mixture should be thick and creamy, similar to the consistency of butter. This allows the colour to separate smoothly while maintaining the depth and richness in the background. The name of this technique is dry on wet. It means your brush should be almost dry, almost no water on the pigments, and your paper should be wet, moist, actually. And another one here. Um, And in this way, we can get soft edge trees, and at the same time, it will not separate easily on the wet paper. You can see this part is all ready to the right, not just wet. And for this part also, one more here. And one more I want to add here. I think that's good for the three trunks on the background. Now I want a little bit leaves we mix, we need to mix rten with the bird. Amber. An brown is good for this. Here. You can see the paint separate immediately. It means we need to prepare more fiigmented mixture like that. You can see this part right already, and I'm not going there. I'm just working on wet paper. And here a little bit. Okay. Now, we need to soften this edge with the damp brush. Okay. Now let's move on to the three trunks on the foreground. For that, I'm mixing sepia and a little bit pens gray. Here, the first one. They are going to be very dark in tone. Now, let's move on the spot. Me sepia and paints gray here. We need to prepare more paint mixture. And the other one is here. Before moving on that, we need to add some branches on the foreground trees. And when painting three branches in watercolor, it is important to use fui confident price drugs to create natural organic lines. And we are starting with a fine brush and a highly pigmented mixture. Your paint should be slightly thicker than usual to ensure crips defined edge and apply light pressure at the beginning of each branch and gradually lift your brush to create the branch effect, making the branches look more realistic. And for more natural appearance, variate the thickness of the branches and allow some of them to overlap. And by layering and adjusting the color intensity, you can create depth and dimension in your trees. And I want to paint this tree also, the street trunk, sepia, and indigo a little bit. And starting from the bottom towards the up. While we are painting the branches, paper completely. This is good for us because this tree is the nearest to us and it needs to be more visible. I should have heard aids more branches for that one also. Now it's time to paint leaves. I'll take more Vitan and but umber. I'll separate the sss. Little bit in pink gray here. A And for this tree, you are going to same Tex charge. 7. Day 5 - Blue dusk: Hello, everyone. Today we will painting the reflection of a crimson sun and nighttime trees on a deep blue and navy sky mirrored in a lake. I draw the pencil sketch. It's a basic horizon line, and some lines for the trees and bushes on the back. And we will start with the background, and then we will move on the lake part. For the background, first, we will need to wet the paper with the clean water like this. I'm careful on the age. Okay. Okay. Now we will start with the sky. For the sky, I'll take Ultramarine like that a little bit indigo and perent rolls. I will just mix them to each other here. And we need to leave some space for the pink cloth on the back like this. And for the bottom part, we will just cover part like this. Okay. And here also. And for this part, I'll take vermilion, a warm red color, and then permanent rolls. They need to be clear permanent rolls and vermilion. If you have, you can add little bit opera pink to. Here in the part. And here. More opera pink and vermilion. Here. And for this color, I'll take cobalt Bulo indigo again. And here we just cover some parts like this. Okay. Now, the bottom part start to dry and we will add the background trees. And for that, I will add then green to same color, viridian, and to cos and permanent red Otan It's a bit indigo. And we are starting from the left part. And since the trees in the background are very far away, their eggs should be soft and blued. That is why attate your paper should still be slightly damp. If it is dry, you can lightly mist it with the clean water using a spray bottle. At the same time, your paint mixture should be thick because once you shape the trees, you don't want the paint to separate too much on the paper. A thicker mixture helps to keep the form while still activating a soft effect. Little bitier Okay. And now we will move on the leg part for that. First, we need to wet the paper with clean water like this. And on the horizon line, be careful. Do not wet paint. Like this. Okay. I'll take this here. Okay. Actually, now we will mirror this sky. And for the bottom part, I'll take cobalt glu and rose or cobalt and rose and here cobalt indigo on the spart or cobalt for the reflection of sunlight, we will first use slow here and we need to take excessive paint. And now we will use the same color here. Vermillion and rose here. You can see I'm making horizontal line vermilion again and opera pink here. Okay, like that. And for this part, we will add a per pink like this. Okay. Now we will move on the sp. Again, we will just cover this part with the same color. Like this. And for that part, under the horizon line, we will use the our pinkish color here like that. Okay. And here a little bit. Okay. Now we can move on the trees on the foreground here. My paper is dry already. And for the color, I'll take a pink gray Pins grey, you can use indigo or you can mix. If you don't have pins gray, you can mix ultramarine and sepia together. And you can get a dark color. Mm. At this stage, we are painting the trees that appear in front of the distance bushes and woods. To create depth and sense of perspective, we are using a darker, more saturated mix of paint, and these trees are closer to the river, so they should appear more defined than the soft shades in the background. Yet we are still avoiding too much detail. In watercolor, it's important to balance suggestion with form, letting contrast and edge control tell the story. And by using sharper edges and stronger tones here, we draw the eye forward and build a layered atmospheric landscape. And we are not going into too much detail. The goal is to suggest their presence, not to describe every branch. And because sometimes in watercolor, less really is more letting the viewers eyes fill in the rest. And one more tree here. Again, we separate the brists if you use natural Brists brush, you can get more natural look on the leaves. And on the top of the tree, more leaves. I'll add more dark tones. Some parts like that. And here, and we need to lift some parts to create light on the ground here. Like that. And here a little bit more. Okay. Now we can move on the reflection part. And my papers start to dry and we need to with this part a little bit, not too much. Okay. I'll just with this part. Now, let's start to paint the reflections of the trees. We just finished. And since the reflections are naturally softer and a bit distorted, we are using gentle brisutrok and working on slightly damp paper to help the edge stay soft. The shapes are more abstract, almost like a horizontal smudge in the water, and it is important not to over define them. Just hinting at the forms is enough. Reflection should feel like a whisper of the original trees, not a perfect mirror. You can see my paint mixture is really thick because the paper is wet. And here not too much. 8. Day 6 - Rose Frost: Hello, everyone. Today we will be painting a beautiful winter landscape where sunlight filters through the mountains and falls onto the snow. And this scene will have a soft color palette, dominated by pink and purple tones. And before we begin, we will wet the area above the horizon line with clean water to ensure smooth colored transitions. And now we need to change our brush. We are moving on to smaller brush, and this is a natural versus brush. We will start with the lemon yellow for the sunlight. And above the horizon line, we are adding the lemon yellow. This is a cold yellow color, and it is very light in tone. Now we will move on the warm yellow color, and I am using handselo for that. And you can see my paint mixture consistency with the thick because I don't want the pigment separate easily. And we need to separate the pigments here. You can see I create a circle in this part. It is a sum. After the yellow, I'm going to use war million, a warm red color. I'm mixing it with the Hans here. And I'm separating the pigments inside of the yellow color. After the vermilion, we will going to use a pinkish color. My color is permanent rose. You can use similar colors. You can see I'm mixing it with the orange color. After a permanent rose, we will use purple color. And for that, I'm mixing permanent rose with the cobalt blue. And now again, I'm just cleaning my brush and blending them to each other. After that, I will add more more cobalt and our people will be more bluish in tone. I just want to add a little bit more purple. Sorry pink hair, pink colour. And now I'm just mix them to each other. Okay. For the sky part, that's it. Now, we will let this part to dry, and then we will add the mountain area. And for the bottom part, we will paint directly on a dry paper. I am going to use opera pink and permanent rose to get there. Look at that color. It's so beautiful. And in this part, we will change the color tone to purple again in that part. And more more. We need to add more blue. And I'm just adding a little bit lavender too, and here also, little bit purple here. And now we will let our paper to dry, and then we will continue with the mountains. Now my paper is dried completely, and you can use a blow dryer to dry the paper to make it quicker. And we will start with the mountains on the background. And for this, we will use the same colour tone and this mountain is far away from us, and it should be light in tone. And near to the sun, we will use warm colors. I'm just mixing permantros and vermilion. And we need to follow the circular movements around the sun. And we also lift the paint a little bit to soften the edge of the mountain that area. And I'm softening again with the clean and damp brush. And for the right side, we will use a little bit darker tones, and I'm just mixing indigo with the permanros. We get a dark purple tones here. A little bit here. And again, we need to soften. And for the bottom part, we need to darken the tones. And for this, we will use paints gray with the sepia. We will make a bullish brown tone, and we are just adding the under the montone area. They will look like small buhons on the background. And now we need to soften the edge of the mountain Rs that are closer to the sun. And this is because the parts illuminated by sunlight appear softer and lighter to the eye. And to achieve this effect, we will use the lifting technique, and we are using synthetic brush for this because it is easier. It has harder brises a little bit here. And now we will add small bushes again because a paper dry little bit, and I want to make it a little bit visible. A little bit here, small dots. And here, that's it. For the for grant, first, we need to draw our tree, and then we will paint the shadows on the snow. For the tree, I need sepia paints gray and rose and a little bit more paints gray and loss. Okay. You can see the consistence of the paint mixture like milk, and we are starting from the bottom, bottom of the tree. And now I'm using natural versus rush. And it is really easier to paint trees because the versus very soft then easily. At this stage, actually, you are free. You can paint wherever you want. You can place your branches wherever you want. After painting the tree trunk, we need just to paint the three branches. They should be thin and in broken lines. And in winter landscapes, trees without leaves adapt and character to the scene. And these tree standing strong against the cold and wind showing how nature adapts to the seasons. H. And when painting the trees, it is important to keep the branches looking natural. They should start tick near to the trunk and become thinner as they extend outward. And no branch in nature is perfectly symmetrical. Some reach upwards while others band or twist. And by varying the direction, we can create a more organic and realistic look. And instead of making hush lines, I 9. Day 7 - Whisper of Autumn: Hello, Evan. In this lesson, we are going to paint Autumk with the orange trees and mist on the background. And let's start with the background first. For this, we need to wet the paper, only the upper part of the horizon line. We write the paper. And now we will create Mr. Effect. For that, I will start with the visible trees on the back here. I'll take RdianGreen and Burk umber. It's a brown color, dark brown. While my paper is wet, I will just wet one more time before starting here. In this part, I will just add only lines and here, I will just spray water. And I want to add Bosina for the autumn trees on the background. Bocena here a little bit. Here. I'll just mix with orange orange colors. Okay. Now we will create mist effect. And for that for that, I'll just clean my brush and take excessive water like this upper I need to be softened on the eggs. And this one also we. Here I'm using a moist brush for this dumped he Mm I want more dark colors. I mixing indigo and I will just add a little bit inside of the green area here. It's part also maybe a little bit here. Okay. And her. And now you can see we create miss texture here. Now I will wet this part one more time. Only the clean area white part. And here we will paint pine trees. But we will soften the edges of the tree like in the mist, more timber. Yeah Let's check. Starting from here. You can see my paper is moist, not too wet. And mist in watercolor is all about subtle transitions and delicate layers. And to achieve this effect, we need to keep our paint mixture very diluted and work on damp paper. This allows the colors to blend smoothly, creating the illusion of mist. We need to avoid from hard eggs and let the shapes sold into the background. When we move here, I'll just add more cobalt in this part. Okay. And now you will just soften the eggs. And one more fish. We finished the background, and now we can move on the leg part, the water part. For this, again, we need the first wet the paper on the bottom part on this part. And for this part, we will just choose the same color on our palette here. Now we use the same color here and a little bit greenish color here. We are just mirroring these trees. And in this part, we will use orange and green on the trees. And I think we need just use Brcina little bit orange. I use Berlim orange in the spark here. Okay. I think for George, that's enough. Now we can move on the green color again. Gridian Viridian and paints gray. I think, yeah, that's nice here. More paint gray and little bit amber here. These are the reflections of the trees on the water and they need to be in a soft edge. And you can see I am painting in vertical lines. Now I will add Berg Amber directly under this area. A little sepia too. Now, I take excessive water from my brush and I just separating the pigment downwards because these are reflections. Like this. Now we will let this part dry and we can move on the trees. For the trees, I will start with the tree trunk first. I'll took sepia and little bit pine gray. I'll start with the background tree here. I'll just draw the tree trunk first. And for the leaves, I'll just mix ridden and bur tamber, a little bit paint gray and more bor tamber. And here, starting from here. I think this is too thick. I add more water and starting from the top. I'm just making zig zag moves. Oops. I'll take more pigments on the bottom. Now I will add the orange color tree. Now let's first paint the tree trunk here. For the three leaves, I will add orange and Barcena Anita bit starting from here. Here it will wards You can see I mix in the sp to each other. No, I want to add other trees. M and when painting pine trees in watercolor, it is important to vary your bright strokes. You should use the tip of your brush to create light airy branches at the top and press a little more as you move downwards for denser foliage. And you should let the some colors be lend naturally on the paper to create a more organic look. And since these trees are in the foreground, their edge should be sharper and more defined compared to the misty background. And this contrast between the surf and sharp edge enhance the depth and atmosphere of the painting. Dian, again, dian, pins gray and tuber tamber. Okay. Now, let's start with this. I'm just separating my bristles like that. A more texture here. And one more small try we will add later. And for the bottom, we will just soften the eggs with the nap with the moist brush, and soften the eggs, and it will be te also. And we will add Batumber on the bottom. And then we will add rosena And we will add sepia directly, creating texture. And I'm mixing the sepia with this colour, the orange color, and we will use it on the bottom part of the ground. And we are needing more texture. Okay. And I'll just add more colors here. And I want to add, we'll let this dry. And I want to add small dots here. Like that. Okay. One more tree on the back. Small details of it. Now, let's move on this part. First, I will just spray water here, and after that, I will just wet the bottom part like this. And we will reflect the trees and the leaves. For the trees, we will sepia tree trunk, for the tree trunk, and a little bit deco. And here, more Tums and here and one more here, more thinner. And for this one also, and the other one here, you can see, it's my paper is little wet, not too much. And this separate a lot and I just want it one more time. Okay. Now let's create the reflection. I just add the indigo to my paint picture. Now we just need to create some waste on the river. And more here. I'll take the excessive paint and moving the right side. And now we just add this party dry. We just add this just rye brush. I'll take sepia. You can see it's very pigmented, cream texture here. A little bit paints gray too. Here. This part. And we are adding final touches on the ground part with the dry brush technique, and our paint mixture at dictate should be very thick and in dark tone also to enhance the foreground. And here. I think we finish this and see you in the next painting. 10. Conclusion: Congratulations. You have made it to the end of this watercolor landscape challenge, and I couldn't be more proud of you. Throughout this class, we explored seven different scenes, each with its own unique mood, season and color harmony. We painted Mr. Lake, snowy sunset, cold forest, rose frost, glowing Northern lights, sun at dusk and warm autumn wheels. And with each project, you practice different watercolor techniques like wet on wet lifting. Dry on moist, creating soft age, reflections and dry brush. More than just learning the techniques, you have built a hat of painting consistently, and that is such a powerful step for you. Daily practice, even in small doses, help your creativity grow and your skills develop naturally. Thank you so much for joining me in this challenge. I hope it has inspired you to keep painting, keep exploring and most importantly, enjoying the process. And if you have any question or need clarification, feel free to post them on the discussion page. I'm more than happy to help. And if you enjoy this class, I would love to hear your feedback in a review. Your feedback is essential for me to improve my future classes. If you haven't already, don't forget to upload your projects in the project section of the class. I truly love seeing what you have created, and I will be leaving feedback there. See you in the next class and until an keep creating with joy.