Free-Flow Watercolor: 7 Days of Relaxing Landscape Painting | Bianca Rayala | Skillshare

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Free-Flow Watercolor: 7 Days of Relaxing Landscape Painting

teacher avatar Bianca Rayala, Top Teacher | Watercolor Artist

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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

    • 1.

      About The Class


    • 2.

      Class Overview & Materials


    • 3.

      Getting into the Flow


    • 4.

      Day 1 Misty Forest


    • 5.

      Day 2 Lush Tree


    • 6.

      Day 3 Palm in Pink Skies


    • 7.

      Day 4 Sailboat


    • 8.

      Day 5 Autumn Forest


    • 9.

      Day 6 Winter Forest


    • 10.

      Day 7 Waterfalls


    • 11.

      Share Your Works


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About This Class


Free-Flow Watercolor: 7 Days of Relaxing Landscape Painting

Slow down and discover a new way to relax and develop creativity. Together, let's connect with nature and learn to paint intuitively through 7 days of free-flow watercolor landscape painting.

 You will learn unconventional watercolor techniques and how to apply them to create beautiful free flowing landscapes that reflect the natural world around us in a unique way.

Enjoy creating without fear, let go of the need to control the outcome and discover fun new relationships between water and pigment as we experiment, observe and play!

 For your final project, you’ll create a range of landscape paintings with different techniques for capturing the essence of nature. To do this, ill show you my favorite tricks and the methods I use for this style of painting. Ill share with you how to get into the flow by creating an atmosphere that stimulates inspiration.

  • We will start with a simple exercise using just one color.
  • Next, we’ll learn how to gradually work with 2 or more colors and develop color harmony
  • Discover ways to blend paints without creating muddy colors or losing the freshness on your work.
  • We’ll practice with different textures you can achieve from both regular and granulating paints…
  • Then, we will explore effects like backruns, dripping, spraying, splattering, salt technique and more.
  • We will also work with heavy washes, color blending, dry brush techniques
  • I’ll show you how to paint different landscape elements to complete your

 By the end of the course you’ll have all you need to create your own free-flow watercolor landscapes. You don’t need to be an experienced artist. You don’t even have to know how to draw. Just lose the fear of splashing watercolor over a blank page and dive into a new world where the only rule is letting the paints freely flow!

Meet Your Teacher

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Bianca Rayala

Top Teacher | Watercolor Artist

Top Teacher

Hi friends! I'm Bianca and I'm a watercolor artist. My purpose is to inspire people to discover and pursue their creative passion. See full profile

Level: Beginner

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1. About The Class: Hi, I'm, I'm a watercolor and gouache artist. I also teach painting and drawing in-person and online. I must go through a top teacher, estrus, through advocator and silver brush ambassador. I truly believe that painting is for everyone, being a wife, homeschooling mom and art entrepreneur, feeding is my way to find peace in the rush of everyday life. Taking a quick break from my daily routines and escaping to a place where I can be free and create the renew my mind, recharged myself and make me a better version of myself. In this class, we will slow down and discover a new way through elapsed and develop creativity. We will connect with nature and learn to paint intuitively through seven days of free-flow watercolor landscape painting. You will learn unconventional watercolor techniques and how to apply them to create beautiful, free-flowing landscapes that reflect the natural world around us in a unique way. Enjoy creating without fear, let go of the need to control the outcome and discover fun your relationships between water and pigment as we experiment observance. For your final project, you'll create a range of landscape paintings with different techniques for capturing the essence of nature. To do this, I'll show you my favorite tricks and the methods are used for this style of painting. I'll share with you how to get into the flow by creating an atmosphere that stimulates inspiration. We will start with a simple exercise using just one color. Then next, we will learn how to gradually work with two or more colors and develop color harmony. You will discover ways to blend paints without creating muddy colors are new thing, the freshness on your work. We will also practice with different textures you can achieve from both regular granulating paints. And then we will explore effects like backgrounds, dripping, spraying, splattering, technique and more. We will also work with heavy washes, color blending, and dry brush painting. And lastly, I'll show you how to paint different landscape elements to complete your composition. By the end of the course, you will have all the things that you need to create your own free flow of watercolor landscapes. And we don't need to be an experienced artist for that. You don't even have to know how to draw. Just lose the fear of slashing watercolor over a blank page and dive into a new world where the only rule is letting the paint really flow. I'm excited to start this watercolor retreat with you and lots of adventures await those along the way, I can't wait to infect you with my extreme love for paintings. Inspire you to discover and pursue your creative fashion. But above all, convinced you that it is never too late to start your bath as an artist. Give me your hand and let's jump together into this liberating world of watercolor. 2. Class Overview & Materials: First of all, I wanted to share with you why free-flow painting has been so personal to me and how it has influenced my stylus and artists with free-flow watercolor. I learned the pain from the heart and create something that resonates with how I feel. It also taught me to create without fear of the outcome and see if painting as a way to relax and experience piece. If you want to try painting to slow down an escape from the rush of everyday life. You've gone to the right place here the only requirement is to go off the beaten track and approach a blank page, fearless. In this seven-day watercolor retreat, we will delve into the universe of color flow and while brushstrokes to discover how to reflect the world around you in a unique way, relaxing and satisfying way. We'll paint seven free flow watercolor landscapes, and each lesson will just take an average of 15 min a day. This class is also about getting used to working directly with watercolor and enjoying the colors and textures without the need to sketch. On day one, we will paint a misty forest. Landscapes on the palm tree, on thanks guys, for D3. Then on day four, we will paint a sailboat in daylight. Day five is an autumn forest in Sunset. D6 is a winter forest using salt technique and will end on day seven painting a cynic waterfall that's printed materials. Here are the supplies I will use in the class. These are watercolor paints in tubes. In some lessons you'll find me using them straight from the tube. While on other lessons, I will use these paints from my palette. I use Sri Lanka rather macro and they're super granulating paints. Granulation is a property of pigments to agglomerate on the paper. They create delicate textures because of the unique characteristics of their pigment particles. As to choosing the right paper for granulating paints, the rougher and more structured the paper, the gray third, the granulating effect, that case, hot pressed papers are not suitable for them. Also, more absorbent papers like cotton watercolor papers, require a little more water to ring out the most of the granulating effect. Here, I am using bow home 100% cotton, cold press, watercolor paper in 300 GSM. It has a rough texture and I've seen how well granulating paints appear on them. I'm using ten by 13 inch paper for all the class projects. You may use a smaller paper format, but just dip. It is more liver reading and satisfying to watch the paint flow if you use a slightly larger format, I shared a PDF of list of colors in my palette in the resource section, but you don't need to use the exact same colors that I have. Our main focus in the class is enjoying the process of painting and watching the colors flow on the paper. So the colors are just secondary. If you will use paper sheets like mine, it is best to have a board to hold your paper. I simply take the corners using a masking tape. There's no need to tape all borders. Paper block is also a great option since the papers are already glued and stretch. For the brushes, I tend to use different brush types, but the ones that are very essential is a size two liner brush, a size 46, and then round brush. In the flat brush. I have here at three-fourth inch flat and 1.1 half inch flat brush for large washes. These irregular spray bottle when selecting is for your issue is one that has a low pressure, so the water spreads out widely. I also use two cups of water, tissue, paper, palette knife, Himalayan salt, or any rock song for its special textures. And then he'd gone for speeding up the drying time. The heat gun though is just optional. That's it for the materials we'll need for the horse. The next lesson, we will start painting. 3. Getting into the Flow: Now our adventure begins. Let's start by creating a relaxed and peaceful atmosphere to help you get inspired, set up your art space with all the essential materials you need. Play your favorite music, lighter scented candle, and grab a warm drink. Do whatever you think would help you clear your mind and get into the flow. When you're ready. Take a piece of paper, some pains and a brush. Take a deep breath and think of happy thoughts. Just enjoy the moment. With your paper dropped some paints. Watch the colors flow in bloom. Sway your brush and just let your heart guide you. Continue moving your paper and slowing your stroke until you get comfortable, get into the flu. Enjoy the moment and just watch time stands still. You know that feeling of extreme joy that you get lost in the moment. I want you to search for that feeling and hold onto that during the seven days of relaxing watercolor retreat. Let's begin our first landscape adventure in the next lesson. 4. Day 1 Misty Forest: Welcome to day one. Let's begin to challenge painting a misty forest using just one color. The paint I'm using here is doing the blue by shrink at random from the true, I randomly apply paint on the paper leaving this streaks of paint. This will be my horizon line. The paper is completely dry at this moment. I also use a palette knife to apply a more controlled amount of paint on the paper. There's actually no rules on placing this marks. The thicker the paint is, the more saturated the flow of watercolor will be when we spray water. Just avoid making a straight mark, but instead do a broken horizontal marks in varying thickness and length. Now using my regular water sprayer, I begin wetting the paints and just let the watercolor to flow. Notice that I initially set my board at a slight angle so the paints will just flow down naturally. But since I want to direct the paints upward first, I felt that my paper on the opposite direction. I tried to help the paint flow easily by spraying some more water In the surface. Now let's tilt the paper on the other side and spray more water to encourage the paints to flow down evenly and wildly. I use a wet flat brush and wet the surface with a stroke from the bottom going up. Notice that my paper is tilted at nearly 90 degrees. So here I keep the paper tilted and just wait for the paint to flow and create its natural textures. You may panic at times, but I encourage you to just enjoy the process. Now that I'm happy with the effect, I put my paper down at the low angle and we'll start painting impressions of messy trees using the leftover beans on the paper. I use a liner brush, do wiggling and shaky strokes to paint trees. I hold the brush near the end of the handle for less controlled strokes. I also splattered some spin all over the area. The gradient miss the effect. The background trees has to have very light and subtle tone. And we must paint this portion while the surface is still wet or moist. Doing so will help you create soft strokes. I also vary the size, height, and angle of the trees. For a natural effect. They get slow and just enjoy the moment. Since the paper is mostly wet, you have all the time to paint those trees at a relaxed base. I will derive this layer using my heat gun too fast in the process. What it is always best to dry the paper naturally to prevent the paints from fading too much. Now that the fragment is dry, I will paint some more trees on top, still using my liner brush, but this time with a darker and creamy or paint. I avoid painting exactly over the initial layer. I repeat the dabbing and wiggling stroke to create the impression of pine trees. If you can notice, my strokes are suggestive and composed of broken strokes. You don't have to completely paint the tree trunk with a full vertical line. So you could maintain the expressiveness and freshness on your work. Even when painting the leaves and branches, I do the same step. I simply maintain the triangular shape of the tree without being so particular of the details. Now, as a final detail, I'll add tiny flock of birds in the sky with a very light stroke. Here are first being thing is done. 5. Day 2 Lush Tree: For our second prompt, I will be using forest olive and forest green to paint a lush tree landscape. I leave some marks of forest olive on the lower third of the paper, which serves as my horizon line. Next, I add dots of a darker green shade, which is forest green. I began wetting the surface using my sprayer and tilt my board. Paints will flow on the upper part of the paper. Since I used two colors, I can see the two colors starting to blend together. Feel free to move slightly shake your paper to let the paints flow, blend and create a beautiful natural gradient. I tried to dissolve the thick paints using my liner brush. I take off some paint and splatter them around the paper too. Since the beans will not flow on dry paper, I need to spray some more water to encourage flow. I didn't let the paint flow on the bottom part too much as I'd like to direct the focus on the upper fragment. Using a wet this shoe, I dab the edges to create soft edge. I also splattered some morphines around and just play around without worrying about anything. Enjoy watching the paint flow and create magic. I notice a pool of water here. So I tried to sip it out using a tissue or a natural hair brush. Natural hair brush is a thirsty brush and it absorbs water on the surface so well. You can also use a paper towel to absorb water so it won't take too long to dry. Since I use a granulating watercolors, you can see a unique and delicate textures because of the characteristics of the pigments particles. Of course, you can use extra fine paints. But for me, this type of technique, which is free flow watercolor, perfectly exhibits the beauty of granulating paints. Since those textures come out really well when using January's amount of water, I still continue removing the bottles of water and they keep my paper tilted at a slight angle. Now, while the upper fragment is still moist, I will paint the lush tree. I create a creamy and saturated mix of indigo and olive green. I tried to find the right green color by adding some proportions of each color. I also add a bit of Prussian blue in it. I want the color to be really rich and cool. Now that my brush lightly on the moist paper and just let it create soft blooms. As I've made the edges of the tree, I put a bit of pressure on the brush to paint organic strokes. Now using yellow ocher and olive green, I paint the light portions of the tree. Remember that the paper has to be moist in order to achieve this soft bloom effect. As you paint the tree, keep in mind also the general rounded shape of the tree and be careful not to oversize it. Now, I will add some dots of dark tones. Don't be afraid of blooms or leads. One technique I can share when layering on wet surface is to make the next layer thicker and creamy or inconsistency than the previous layer. I continue placing dots of dark green as impressions of crowns of three. Now I go back to my liner brush and mix up yet to my green color to paint the twigs and branches. I still hold my brush away from the ferrule for a finer stroke. Now as I paint the trunk, I do it in quick downward stroke. Then tried to blend or in connected to the ground, I get thicker mix of SAP yet to make the trunk darker and more defined. I add some more tiny picking two weeks Do I still do the same broken and suggestive strokes like what they did in the previous lesson. Now, I lighten the left side part of the trunk by lifting a bit of color. I also lived a few dots of color on the tree itself. Next I add few lines were twigs and branches, and be careful not to overdo them. I let this painting dry completely and check if there are still some puddles of water left. Here is our final painting. 6. Day 3 Palm in Pink Skies: Welcome to our next prompt. In this lesson, we'll work around multiple colors to portray a pink sunsets guy and palm tree silhouettes. I have here a freshly squeezed can acrid oh, magenta. And using my liner brush, I place some paint markings in the lower part of the paper. Again, this serves as my horizon line. Next, I moistened my yellow orange paint and dab some thick amount of paint using my brush just above the quinacridone magenta. Another color I will add is cobalt violet. Now let's begin the watercolor flow. I did my paper, then begin spraying with water. See how all the colors start to bleed and flow with each other. I generously spray water and see how the color spread wildly. Now that the paper is wet, a load my flat brush with water, get a watery pigment and literally drop water puddles all over. I make sure the purple color is very light in tone, so it won't create muddy mixtures. I move my paper in different directions to help the colors blend naturally with each other. I spray more water to encourage the parents to feel even more. Now I add some more drops off purple to make them blend with being pinged. As you add more purple color, make sure that the tonal value is almost the same as the tonal value of the pink puddles on your paper. You can splatter some more paint and spray water through your spray bottle. Doing this makes the edges really soft. Notice how watery my paper is. I also have the concentrated paints at the V, so they would all the more bleed and create a strong gradient. Again, the key here is not to panic, but just enjoyably. As long as the paper is wet, the paints will just dance on the paper. Trust that you will never go wrong even when you let the water paint on its own. I moisten the bottom part with a very light pink wash. I also add some strokes of light purple, but not to the point of manipulating the background texture. Now I get a small flat brush and try to leave some paint to create an impression of Ireland here. On this chunk of color. I carefully lift the color off while the paint is still moist. So here I notice a puddle of water. I tried to spread it and let it flow downwards so prevent my paper from buckling. Now I get the heat gun and dry the fragment a little bit so the paint around the color lift won't move anymore. Since the fragment is still moist, I'll drop in some dark violet color to create contrast against this color lift. I wanted to create an impression of an island where the palm trees planted. I just let the brush touch the bees and let it bleed naturally on the paper. I make the bees a bit darker by adding some more paint over it. Now let's dry. This fragment wants more in preparation to painting the palm tree. Make sure that we paint the tree on the dry paper to make the shape really defined. Using perylene violet mixed with cobalt violet in a bit of indigo, I grade a very thick and rich mix of paint for the poem. I also use a size six synthetic brush. For this. I started my stroke with some dry brush markings to create connection between the tree and Ireland. I use the heat gun again as my paper is still cold. Now starting from the trunk, I do an upward stroke. This route should not be straight. Make it slightly angled and irregular in shape. Next, I paint the leaves with. Week up, down strokes using just the tip of the brush. I initially draw the outline of the leaf spine that will serve as my guide when painting the lines. Notice that my brush is almost 90 degree angle to make it easier to create thin strokes. The paint has to be very creamy and almost dry so that you can create define strokes. Tried to have all the leaves meet in one center despite having different forms or facing different directions. I repeat the same quick and repetitive up down strokes don't make the tree look fuller. Next, let's darken one side of the leaves for dimension. And then I'll paint a darker layer over the tree trunk with a dry brush. Make sure to connect the base of the trunk to the island with some extra strokes. Add a bit of orange accents on random spots here and there. Now our painting is complete. This is our third class project. 7. Day 4 Sailboat: I'm so glad to have you here on day 4041 week retreat for today's project, we'll be painting a sail boat on serine water. I'll start by preparing my very saturated color mix using cobalt turquoise and cobalt blue. Next, I pre wet the paper using a flat brush. I pre-read this guy fragments starting from the horizon line. Going up, I generally see wet the paper, leaving some visible puddles. Next, I'll drop the colors on the edge of the wet surface and just let the blue color freely flow on the wet surface. I tilt and move my board so I can somehow lead the movement of the paints and spread the colors smoothly. I dab some more pigments just on the edge and try to avoid greetings trolls, or even dropped some water from my brush and splatter some beans. Using a tissue. I wipe off some spill around the paper. Now I have my small flat brush and get a mix of cobalt turquoise and cobalt blue to paint the water fragment. This mix has more cobalt blue in it. With a swift stroke, a glide my brush from left to right, and leaving a very tiny gap in-between the sky and water fragment to prevent uncontrollable bleeds from this guy going down. I repeat this with sideward strokes going down. Feel free to splatter pins as you desire. Now, I'll add in the goto my Bluemix to just add texture on the water fragment. Using a round brush, I create horizontal strokes on the water fragment. Let's write the paper completely and remove some water puddles around. I wet my tissue and dab it on the edge to create soft edges. Make sure that the paper is really dry before starting painting the boat. Keep in mind that our works, we'll definitely look different because we let the water being for us, the main technique I want to share with you here is to learn to let the water flow and paint on its own without being afraid of the results. So here I'll be mixing a grayish lavender like color using my pastel blue mix with my indigo. I will paint the general shape of the boat and will not be doing an initial sketch. I paint the boat slightly below the horizon line. The great depth at the darker tone on the right sidebar of the boat. I just dropped in my lines a bit to define the shape even more. To emphasize this dark dawn, I will slightly lift the color of on the left side. Now I will add a bit of yellow, orange to my dark blue mix to paint the reflection on water. Make them mix creamy and saturated. Now, I create a mirror image of the vote. For the reflection on water. I do broken horizontal strokes in one goal. So make sure to load your brush with lots of pigment to do it in one goal. Now I get my synthetic brush to add some lines and details on the boat. It doesn't have to be so particular are exact. Some random lines are enough to portray the impression. I also define the shape of the boat by not outlining it, but instead placing dots on the sides. Now I get the thicker mix to paint silhouettes of people in the boat. As a green small figures, I start with a dot of color for the head, then horizontal strokes to paint the entire body. Just be careful on keeping the HIREC proportion between the boat and the human figures. We don't want them to look too big nor too small for the size of the boat. I add a red highlight on the board and also on the reflection. As a last step of Painter rigorous using my synthetic brush, make sure that paper is really dry so you get a crisp line. For the next step, I'll use my liner brush to add some more fine lines and details. Keep the lines very thin. And it is okay if the stroke is not so straight and a bit broken or shaky, then don't forget the pain, the reflection of the riggers on the water. Paint them in mirror image. As a final step, I'll drop opaque bluish white bean on the loads fragment of the figures just to make each figure more distinct from one another. I'll add a few more lines and strokes so make the scene look more complete. So here is our final painting. 8. Day 5 Autumn Forest: The five autumn forest. Welcome to our fifth prompt. Today we'll work with some colors to create an autumn forest in sunset. I start by placing transparent green gold paint straight from the tube on the bottom part of the paper. Next, I dab a few volcano orange on top. I am envisioning a blend of yellow and orange, which will result to all warm color for the sunset. This will occur when we spray water later on. Now I add some strokes of thick forest green on the sides only. I don't add in the middle as I preserve the middle portion for the light fragment. Let's start spraying it with water. Notice that I tilt my board as I continuously spray water, so all paint will flow in one direction. I try not to move its sight words. So the green color would not move towards the yellow portion. I drip some water from my brush here at the bottom to encourage the paint to flow even more. I splatter some greens on this side as I built the forest impression. Now that the yellow portion is a bit moist, I lift up the color on this portion with a stronger don't, using a dry tissue to create an impression of the sun at the background. Now using a round brush, I dub some paints to paint the trees. Notice that the form is not so defined since I'm painting on moist surface. I also intended to be this way. This is the trees in the background or middle ground. We wanted to transition from yellow to orange to green to portray the autumn trees in sunset. I continuously do dabbing strokes lightly and also splatter some paints. Now I spray a little water at the bottom to make the paints bleed down and create a fading effect. Now, I dove green paints at the wet surface to increase the contrast between light and dark. Using a liner brush, I will start painting some pine trees. Start with a small portion of the trunk. Then that my brush to paint the leaves, I get paint straight from the tube so it will be really saturated. Now for the bottom part, I make the paint even darker by mixing some Payne's gray. The idea here is, the farther it is from the light, the tree has to be darker. The closer it is, the color would be warm to continue painting the tree on the left side still using the same shade of green. I love the soft effect that it created when painting on the moist paper. The 3s look defined yet very soft. Now I have here a creamy mix of orange to paint the tree slightly closer to the sun. I do some dabbing strokes, but this time and vary the height and angle of the trees to make them look organic. I dab a bit of sepia on some spots. The great depth on them. Here as I paint the leaves right above the light portion, I made the color warm. I will add another tree here in their right to enhance the home position. Since it is for this from the sun. Now color has to be dark. Now let's add some lines and fillers like splatters to complete the home position. I will also add a bit of dark strokes here in the foreground of further bring out the glow of the more replace dark tones around the light. The right there the light will be. Now I'm drying the painting and trying to check if there's any need to add either strokes or elements. Here I'm placing broken stroke to show the trunk of the tree. Make this stroke very thin, organic and broken. I also add some shaky horizontal strokes for the branches. My brush is dry. That's why you could see dry in strong strokes. Let's finish off by adding some tiny birds in the sky. This is our final painting. 9. Day 6 Winter Forest: Our prompt for today is a glowing winter forest will be using the salt technique degree this no effect. Let's start by wetting the most parts of the paper with clean water. Using my big flat brush, I evenly wet the surface generously. My board is also slightly tilted null. Next, I get some Naples yellow using a smaller flat brush. Make sure to get a clean paint to create a clean stroke. I do downward strokes in the middle part of the paper to set up the light in the forest. Next, I paint the same color mix with burnt sienna to create warmth in the atmosphere. Feel free to splatter paints and just let the colors flow in bloom. Next, I get a lavender color using ice blue, cobalt blue, and cobalt turquoise. But if you have lavender paint, you can definitely use that to save yourself from deed use color mixing. How you apply this color while the surface is still wet. So all the colors will blend nicely and smoothly. I keep my strokes repetitively, downward and very light handed. As I go farther from the light and make the tone darker by adding deep-sea violet to my mix. Next, I splatter some paints for extra texture and keep on adding depth through darkening the tone. Using my round brush, I dropped some more dark tone paints and splatters at the edge and the bottom part. Now let's drop some salt in the fragment. Note that there is right thiamine as the sprinkling salt. The paint has to be moist and not so wet for the salt to create a nice bloom effect. Just let the salt melt and push the paint is a way to bring out the effect. You can slather some paints or sprinkle water with your brush or finger while waiting for it to create larger blooms. While waiting for the blooms, I repeatedly sprinkle some pins for a more atmospheric feel. In the painting. Since most of the water we're pulled at the bottom, I will make use of it and spread it to paint the base of the landscape using a flat brush. I switched my brush quickly in one stroke to spread the pool of water. Now I got my liner brush and mix and opaque grayish brown color to paint some dry three trunks. Be wealth and carefree in executing your strokes. I hold my brush nearly at the end of the handle to achieve a thin line. I make my strokes really organic and natural and tried to move my brush quickly to avoid shaky strokes. Since my paper is still moist, I will add some more salt into it. Note that when the paper is dry, the salt effect will not work anymore. The same thing happens if the paper is too wet. The salt will just float in a very wet surface. You've got the find the right timing, which is moist surface to create those tiny blooms on your paper. Now we can slowly see the effect the salt brings in the paper. See those white spots which looked like snow. Just let the salt melt and move the paints. As they dry. You can strip off or remove the salt particles. Once the paper is completely dry. After painting. Here I'm adding this soft thin strokes to portray dry trees and stamps. As you get closer to delight fragment distance should be warm in color. Only use dark paint in dark tone background. I mix different colors, like ice blue, cobalt, turquoise in deep-sea violet. The grid a grayish black color. For the tree trunks. It is nicer to mix colors to create a black light color rather than using a premix black paint. This gives us extra depth and interests in your work. Since my paper is still wet, the strokes tend to be very soft and blurry. I need to dry the paper now so I can create dark and define strokes for the trees in the foreground. As they paint the tree in the foreground, the tone has to be really dark. I made my color mix green. We're in thicker to get those dry looking strokes. As your painted twigs over the light fragment to use branch Anna to reflect the light. I suggest not painting too many lines and don't paint the trees with continuous lines. Keep them broken, a bit shaky and flowy. I finished off by adding some random horizontal strokes are established is normally based. Lastly, I dropped some Naples yellow on wet fragments on the base. For highlights and accidents. I make my strokes horizontal following the angle of the plane are painting is done. I'll say about some of these pool of water using my tissue and let the painting dry completely. I'll see you on our last project in the next video. 10. Day 7 Waterfalls: For our last project, we will end the retreat with a cynic waterfall landscape were portrayed the water by focusing on painting the shadows and the trees around the false. Let's begin. I start by wetting the middle part of the paper vertically. My board is still tilted at this time. Next, I get my flat brush and mix yellow ocher and olive green to get a yellow greenish color and lightly do vertical strokes on the right side. Here I'm starting to paint the right side part of the false. Then I blend in a darker green color. And notice how I just do soft brush markings. I soften the edge here using spray bottle since the paper on the side is dry. I do the same thing of painting the left side of the false with yellow-green mix. Notice that I left a white spot of the paper unpainted as that will be the upper portion of the false. I continued blending in different shades of green to create an impression of trees. I simply dance my brush and do obstruction. The key here is to vary the shades of green to create interests in variety in the play of green colors. Now I'm still doing negative painting to portray the false. I also did a horizontal stroke the paint, the base wash off the rocks on the foot of the mountain. I wanted to show texture by doing dry brush strokes. I created this color by simply mixing some sepia on my green mixes. Now, let's paint the shadows on the false. When doing this step, the water fragment has to be moist and not wet or too dry to create this controlled. It's soft strokes. I use deep-sea indigo for the shadows. The stroke is very thin and light. Then, uh, use a flat brush to drag the paint down. Be careful not to stay in the preserved white portion too much of the paper so we can create the impression of clean water. I darken some spots on the shadow for more contrast. But as I do this, I make sure that the paint is still wet so the layer will just blend in together. I would be the process of dragging down the paint to create that feeding and miss the effect on water. Now I still use my flat brush to paint horizontal strokes for the water fragment. See the strokes that I made. They are horizontal and broken. I left some unpaid spots right below the false do. Then I also drop in some pure cobalt turquoise color to brighten up the water fragment. Now let's increase the contrast around the false to make it look brighter. I added some dark green and saturated strokes or define the shape. Then I miss the edge to create a soft bleed. Using a smaller round brush, I'll paint some impression of trees here on the sides of the false. Using yellow green paint, I also added some impression of picking three stems here to build up the area and add a little detail on this plain background. You can always use splatters, degrade loose and expressive leaves effect to just note how I varied the tone of colors from using light green colors to meet Don greens and dark greens. So the three fragment won't look flat and monotonous. Now I add lines to show trunks, twigs and stems. I do quick confident strokes for them to look very natural and not stiff. I don't want to overdo the left side. Maybe I can stop for now and continue painting the right side. I started with painting like a tree here, using rough strokes with my brush. Using the same brush, I paint the trunk with a dry stroke. I also add another one here below. I dab some dark spots of color on the edge of the false to define this general shape. Here, I also add some random strokes with my small brush to bring out the texture of the rock fragment. I let the paint flow using S for you to connect the rocks fragmented, the water fragment. Doing these grades, continuity and connection between all elements in your painting. I finally the painting with some more strokes for twigs and trees and of course, little birds in the sky. Or seven, painting is complete. I can't wait to see what you've created during the last seven days. And they'll share some tips and encouragements on the final video. 11. Share Your Works: Thank you so much for choosing this course. I hope you enjoyed it as much as I did repairing it and learned a lot from our daily breathing exercises. If you have any questions, I'll be available to answer and help you in the discussion section. I can't wait to see your words. I'm looking forward to seeing them in the project section of this class. Simply take a photo of your paintings and upload them there. Remember, our ultimate goal is to see art as a special time to find joy and escape from the rocket life. Don't be afraid to play and let go of control, pain to have fun. I also look forward to hearing your thoughts about the class, how this class has influenced you or inspired you in your creative journey. You may give feedback in the review section. After this video, you'd love to explore more about this expressive style of Sandy invited to join my other watercolor classes. I do recommend watercolor travel developers val, important days of landscape painting. Expressive watercolor, flower painting with expression, freedom and style. Watercolor landscapes painting with modern watercolor techniques. Thank you so much for taking my class. I'll see you on my undergrad.