Seaside Cottage Watercolor Landscape

1. Introduction: Hello my friend. Welcome to class. My name is Amy roles. And in this course, we'll be painting a relaxing seaside cottage landscape in watercolor. The content that follows will focus entirely on watercolor painting and an effort to keep the glass to a more manageable length. There will be no drawing instruction this time around, instead will be jumping right into painting. We will begin with the sky and then work our way through the rest of the peace. Building layers of color from light to dark. Emphasis will be placed on various ways to create natural looking textures, as well as developing contrast through value changes. I will also touch on things like color harmony and demonstrate how I tackle this type of subject matter. As always, all students are welcome. However, the instruction offered here is best suited to intermediate or advanced students who are comfortable with watercolor basics and completing the under drawing on their own. Most of the video is in real-time and the project will likely take multiple painting sessions to complete because we need to allow for drying time. If you're feeling the need for a holiday, I hope you will gather your art supplies and join me for this little watercolor adventure as we escape to the seaside. 2. Getting Started: Hello and welcome. This time we are going to be doing a little seaside Cottage. This is another version, little practice version that I did. This one is not finished, but we'll kinda give you an idea of what we're aiming for today. If you haven't already watched my bonus video on textures specifically tailored to this subject. Please go check that out. Alright, let's jump right into it. I'm not going to do a color mixing segment for this piece. The colors I've included in my limited color palette for this painting are paralleling violet, air colonial, read, Venetian, yellow, earth, Naples, Yellow above titanium, blood stone genuine under sea green, leaf green and indigo. And we should be able to mix everything we need with these colors. If you do not have these colors, don't worry, use what you have on hand. I offer some alternative color suggestions. In the workbook. You're looking for some help with other color options to use, okay, really, really quick on materials. This is just a piece of cardboard. It think it's from, it's from a watercolor block that I've used up all the paper. And I just save these because they're really nice thick cardboard and they're great for taping your paper down to using empty washy tape in white. Nothing special this, so it's not masking tape, but it's washy tape. And then I've already done my pencil sketch. I used a 2H lead pencil to do my sketch. Ten then I felt like some of my lines are getting lost away on it. A little bit of ink, but not a lot. You don't have to use ink if you don't want to. That part of it is kind of up to you. Whatever you feel comfortable with or whatever works with your style. See what else. I am using a 140 pound. I think this is a rough paper. I had some scrap paper hanging around. So I thought the rougher texture of this paper would work well for this subject. So this time I'm not going to show you my whole drawing process. So I'm just going to skip ahead and go straight into the painting process. I didn't modify the image somewhat. I shifted the cabin well, I let I shifted the shoreline back so we can see more of the water. So I kind of made up these two inches of the piece, but it's just extrapolating from what you can kind of see from the photo. I just kind of extended the lines over and length the horizon line over. So that wasn't too difficult. I kind of struggle with perspective and buildings. So I don't really have a lot of tips to offer in regards to that. If you're really struggling, you can always trace the building and, or, you know, do some practice sketches before diving into this painting. I'm also changing up the sky from the reference. And I have a secondary reference photo that I'm using for my sky, which is where we're going to start today. So I am doing more of kind of like a muted, kinda cloudy sky with some subtle colors. So that's what I'm going to be doing for my sky. Didn't want to just do a plain blue sky, especially since so much of this piece is the sky. The sky is a lot of it. I really like painting skies. So that's probably part of why I chose to do that. So the whole first section, we're going to just do the sky and then later on incorporates some of those same colors into the foreground to create a color harmony. And I'm gonna be using the same kind of color from the sky as my shadow color on the side of the building, and then also for shadows later on in the foreground. 3. Bonus Video: Textures: I thought I would do another bonus video for you guys because this was just the perfect opportunity to talk about different ways of making textures, watercolor. And we're gonna use kind of a range of materials to create textures. I'm not going to touch on every single possible way, but just a few that work really well for the subject at hand. We're going to be doing a little seaside cottage. And there's a lot of grass and foliage and other types of plants on the hillside. Chernoff in front of the house and in the foreground. So I've been playing around with some different methods. This is not finished yet, but you can kind of see what I'm talking about all the different types of foliage. Because you're getting a little sneak peek and my sketchbook here. So I was doing some testing and just kind of playing around to see what kinds of textures I could create using different kinds of brushes. Not all of them are intended for watercolor. These marks were made with a toothbrush, not one I'm still using, don't worry. These were made with a brush. That's not even men for watercolor. So let's just dive right into it. I'm actually see this is some of the color studies that I did color mixing, I should say, that I did in the process of selecting a colours. And I feel like that's always a good place to start. And here is another rough draft that he did of this little seaside landscape. Alright, so I'm gonna set these signs. Got a piece of paper here. This is our shes, a 140 pound cold press and I'm actually using the backside because I already painted on the other side and especially first sketches and practice stuff. There's absolutely no reason why you can't paint on both sides of the paper. Okay, Let's get into textures in watercolor. Now there's a lot of different approaches for this. Some of them involves salt or alcohol or even using bleach. Those can be really fun. I do like salt texture, but we're not going to use that for this particular example. So I have some supplies here and some of them are going to seem a little bit on Orthodox and certainly not traditional for watercolor. Let's start with this one. This is a natural sponge. I got this at my local art store for about $2. It really needs to be a natural sponge Because otherwise the patterning on the sponge is to regular. We don't want to get any hard edges. We don't wanna get any sharp lines. It needs to be rounded. But these are super cheap and they're really fun for creating leaves and trees, especially in the distance. And they create some really nice organic kinds of textures. So get yourself a natural sea sponge, little tiny one link, this is just fine. Another brush that I'm going to use is going to beat this one. I have no idea the origin of this brush and it's kind of Stiff and rough, but it will make some really fun textures as well as splatter. You can tell just by looking at this, is this a really cheap brush? And that's totally fine. And it's interesting how sometimes really cheap supplies can make some really interesting effects in your work. Homing on to probably the most unexpected item that I've selected. This is a very homed beat up metal nail file, but we can use the tip of this for scraping. You can also use a old credit card. Sometimes brushes at the end will be angled and you can use the end of the brush handle to scrape. You can also use your fingernail, but scraping can create highlights as it can like move the pigment. You're literally going to scrape the pigment off the paper or to create a lighter mark. And that can be really good for grass. And like I said, highlights or just small, smaller, lighter marks. So that's going to be a fun one. But that, it's all about timing. So I haven't quite mastered that technique yet. We'll see if I can actually get it to work. And the last brush, a simple bamboo brush. This, again is not a very expensive brush. It's kind of wild and crazy, unpredictable, and difficult to use for more precise purposes. But for this, it's absolutely perfect because it naturally creates grass and leaves and similar types of marks. So you could use it for, for, we're not sure what else, but this is a fun one for sure. And it eliminates having to paint like every single little blade of grass. That being said, let's jump right into it and get started here. I'm just going to mix up some colors. And then we can get started on your demonstrating these textures. So I'm gonna start with this bunch. Right now it's dry. And if you use it dry, it's going to suck up all the paint. So we want to at least get it damp. So I'm just going to dip it in my water, kind of get it softened up a bit. It's water jar, so I'm just dipping it in, kind of squeezing to get the water worked through the sponge. It does not need to be really wet though, so you wanna make sure you squeeze it out. Really good. Okay. So I've gone most of the water out of that. And I'm just going to dip it. Jibjab it like this, kinda get more than one edge with paint. And then when you apply this to the paper, you want to rotate the sponge and keep kind of turning it and twisting it so that you don't get a bunch of marks that look absolutely identical. Because that is what will happen if you don't keep turning the sponge. Just Kind of layer on some more color. And you can see how this is currently starting to take shape. You could be a tree, it could be, I don't know. Some low growing corrode kind of plant. Maybe it is a tree and I kind of want to fill it out some more. Anyway. As you can kinda see how you can layer a couple of different colors and create some really nice effects with the sponge. It can also be used kind of lightly over a whole surface to add texture. It could be rocks maybe or sand. You have to kind of use it where it's appropriate. I think it works best for foliage, but, you know, the sky's the limit. Another brush that I meant to mention before is a rigor. Rigor brushes are designed for painting rigging on ships. So lots of little fine lines and that's why it's long. So that will hold a lot of pigment, but still come to a really nice point. It's perfect for things like grass, reads, wires like telephone wires or electric wires, fence fence wires, anything where you need like a thin line. Anyway, we'll get to that in a second. This is just completely synthetic bristle bristle brush. I don't know exactly what it's called is probably meant for acrylic. But it creates some really interesting dry brush marks because it does, does not hold any water. That can also kind of make these kinds of scrubby marks. And a grandson of this red. So I got it to what now? This is a little hard to control the kind of mark that you get. But it can definitely make some interesting kinds of marks. This is this kind of stippling with it. That's kinda bond. I want to see we can show you the scraping it a try and see if it works. I'm not the best of this. So if it's too wet, it will make like a darker line. If it's. Just right. It'll make like a highlight like that. And you can kind of use the tip or the side and it will make different sized kinda scrape marks. I would say just play around with it and see what happens, are gone. It's not a technique I've mastered, so I don't have a whole lot of advice as to how to get some good results from that. Alright, I'm going to switch now to the rigor. And I'm gonna grab some of my Venetian yellow earth. And This brush is fun. Just because it kinda makes some somewhat unpredictable Marks. And I'm holding it from the end. I'm not holding it down by the feral and I'm doing that on purpose. I want to get more organic lines and kind of flick, flicking, fast strokes so that the line tapers. And I have a reference but not looking at it anymore. So just kinda making up this grass Tufte here where you can see how it makes some really lovely natural thin lines and I'm going to add a darker color now. This is blood stone genuine. Trying to work on my grass and not make it so predictable. And not all like the same kinda mark. It's not an easy. Anyway. Adding some dark here in the base. And just kind of playing around and see what we can get. And adding some water to just kind of feather that off. This branch also makes for some interesting splatter. So I'm going to grab what's more pigment and a different color here. And just tap this lightly. And it makes some really nice, fine splatter. Spotter is one of my favorite ways to add texture, especially for things like sand and grass and fields of flowers, anything in nature or it just adds. Random organic texture to your peace in a way that you can't manually create. So I'm getting that nail file again. And I'm just gonna drag it up quickly and see kind of what happens. I think it's too wet and dry all at the same time. So yeah, this is a tricky one for sure. And you don't want to do too much of it because you are actually putting like a groove in the paper. And last but not least, we're going to look at the bamboo brush. These comes, these come in a range of sizes. I have a slightly larger one and let's say, so when you get it wet, it can be formed into something that resembles a tip. But it's not, it's not perfectly uniform and it's difficult to maintain that tip. Is going to load that up with some this beautiful incur, long ear Colonna rod, which is very much like an English read. So I'm twisting it on the pan to keep that tip so it can be used, you know, like this, like you would almost a normal brush. But I think that it shines when you kind of mash it down and spread the bristles apart. So it looks crazy like this. And then it will create a lot more marks all at once. Trying to split it out some more. So this is just great for these grassy kinds of textures. And you can turn it to kinda change up what you're getting. And I just love that very organic, very quick kind of result. With minimal effort. You can also be used in kind of more mash around, kind of a way to create foliage. But this would only work for like a larger area. Where we're a bigger painting, where you can actually match the brush right into the paper. Picked up some indigo. Just kinda drop him some more colorants and you can see how you can layer these kinds of things. And now that the brush is completely mangled like this, it makes all kinds of really nice organic foliage textures. Specifically grass, as what I'm thinking of this. But it's just a really fun rush. And it definitely will help you loosen up if you tend to paint too tight. Alright. This is another brush that will also produce some fun. Splatter. I think any brush will everything is covered with bladder. Now, I'm going to have to clean my desk. Any who. I hope that this little demonstration has given you some ideas about different ways you can create grass and foliage without trying to paint every little blade and stem. Anyway. I hope that helped. Hope that inspired you to get out some unexpected supplies and bring them with you when you go to paint. 4. Sky Part 1: So let's just dive right in to it. You want to grab a bigger brush. It could be a big round brush. It could be a flat brush or a Hake brush if you have one. And we just want to wet down the whole sky area. We're going to be working wet in wet for the sky. And this is kind of one of those things in watercolor where timing is everything, but also controlling the amount of water on the paper. If we have too much water, we are just going to get puddles and our paint is going to spread out too much. So we want it to be kind of evenly wet across the surface. I'm just putting the sky portion of the piece and you kind of want to be careful. In fact, I'm going to turn this, I find it's a lot easier to be controlled in this direction. Okay, this brush is not working for me. Switching over to a different brush. And here we go. I'm trying to just kind of go along the horizon there. We do not want to get we don't want the sky to bleed into the water if it does not. Huge deal. Cuz there are a lot of similar colors use. And a lot of times the water will reflect the color of the sky. But just be careful and paint around my little chimney, which was also an addition I decided to make the actual cottage in the reference photo does not have a chimney, but I felt like changing the roof line slightly and adding the chimney made it look more cozy and inviting. Okay. So I don't know if you can see in the video, but there is now a light sheen, water evenly displaced, evenly spread over the entire surface of the paper. And that's what we're looking for. We don't want any puddles. If you've got puddles, you've got too much water and you need to wait or spread it out more. If you're using a really heavy paper, you may need to apply water to the surface twice. And what that will do is it will just give you more time to manipulate your colors and create some beautiful blends and affects. All right, so let's see, I'm going to start. We've got indigo and parallelly inviolate. And my palette here. And I'm going to make, and make a purple. It's going to be kind of a muted purple, some little piece of paper. And that's the kind of nice kind of muted purply blue, blue-gray that we're going for here. And also got a little Mr. bottle to kinda keep the paper wet if it starts to dry out. And I think what I've got is too dark, so I'm going to add some water to dilute it. And then again, I'm going to turn my paper because I feel like it's easier to kind of control in that kind of a direction. I'm just gonna drop this n. This should blend out nicely because the paper is wet. Like silver, too much water. Okay. Rinsing my brush, drying it a little bit, and just coming back in and kind of feathering out. I want to add some warmth to the sky. Not too much, but a little bit. So I've got some air colonial read with a touch of Naples. I'm just going to lay that in here. Top. This very subtle. But it will show through later. Should look really nice. Grabbing a little more yellow. And then I'm going to do a little more and colonial read. Grab some of that. Paralleling by limit. Still looks so dark. Okay, let's, let's get a little ballsy here. Yeah, that'll be good. So I'm going to add this pink streak into the sky. I'm just trying to feather it up and out. Okay, that's looking pretty good. I can change this back now. So now we want to make a darker mix or kind of returned to this darker mix. For some clouds. That's probably too like. Alright, so I'm just going to kind of make some sweeping motions. I don't want my clouds to be too static feeling shouldn't be perfectly uniform or straight, I guess. And you can always drop in some more color like that. My paper is a little too wet. So it might be who've made to wait, I'm getting like these spidery looking things happening. And that's because just a touch too much water. Either on my brush or on the paper. Just gonna kinda keep going up. See, I do feel like I've just got too much liquid here. Sometimes clouds are more like sweep, be horizontal, especially at the evening, warps and I'm painting it right onto my roof. That's a mistake, right? I feel like my clouds are kind of going a little crazy. So I'm gonna rinse my brush, dry it a little bit, and see if I can't wrangle some of these clouds a little bit, do a little some lifting here in there. Especially along the edge of the paper where it's kind of SSS spidering. Maybe we need to wait. And that's okay. It's okay to like just wait until the paper is dry enough to do what you wanted to do. And we know a lot of watercolor is timing. So that being said, I am going to mix up some more this kind of a p xi color and drop that in. Kind of experimenting right now. Not gonna lie. Not exactly sure how this is going to work out. But I want to inject more color into the sky. I feel like it's looking a little too washout from what I had in mind. So I'm just kind of turn add in some more pink around my cloud shapes. Okay. Pretty happy with how how that's looking. I'm not sure what to do about this. I'm probably going to have to try and fix that. Once it's dry. It might have been a better idea to mask off the roof line. I didn't think of that until just now. Ok. So I'm kind of just waiting at this point or the paper to be drying off. If you're still seeing any kind of sheen on the paper, it's probably a little too wet for adding in clouds. You could use a hairdryer. I never do. I always worry that heating the pigment is going to change it in some way or affect how it dries and I don't want I don't want that. Right. So I'm just grabbing some more of my go paralleling violet and mix. I'm kind of trying to give these clouds a little more substance. As you can see. I still should've been waiting. Clouds are just dispersing into the paper and not really staying room putting them. So I guess I absolutely have stopped. I'm going to shift gears and start working on the foreground. Let's skip the water for now and start working on some other areas. 5. Land Part 1: I'm gonna grab some Naples Yellow, really buttery yellow. It's kind of subtle. It's moral On the opaque side though, so you gotta be careful about using too much of it. But we're kinda want the feeling of sunlight coming from the left and it kinda being darker onto the right-hand side. So like the front of the house here is all gonna be lit up like that gold and glow of the Sun. So anywhere that I am thinking that the Sun might hit and be looking really warm and just kind of adding a little bit of that Naples in. Maybe a little bit here. I am leaving out the big bush in the middle. I felt like it's not the same color as anything else in the piece. And in order to mix colors that matched with that, I would have had to include I'm a lot more colors. And so in the name of keeping the color palette limited, I decided to just leave that out. This is this is not my friend. Just bleeding. Okay. And then I'm going to switch to buff titanium. This is another opaque color that needs to be used kind of delicately. It's like a like a more muted it handles like grayish tones to it. But I feel like it's another great kind of color for the beach and sand and things. So I'm just kind of dropping it in here and they're trying to think of there being a path here, ish, there isn't one in the reference photo, but just kind of painting with that kind of feeling in mind. Ok. And then I want to really feather off this edge of the beach where the beach meets the water. So I'm just using a clean brush and going back in and softening that out. This is just kind of our first layer that's establishing, basically it's an underpinning, establishing some other colors. But mostly it's going to be like a glow that comes through the other layers. And it's very subtle. But I feel like it adds dimension. So we've got that. And I'm going to start layering on some more colors, some grabbing some Venetian yellow earth. Currently than in here. While this is still wet. And you're just going to kind of soften. Add to what I've already got established with the nipples. And I don't want to overdo it right now is really needs to dry a bit. But I think we can still add a few touches here and there. And it's okay for the bottom edge of the grass that kind of be irregular and rough. That's how it would be in each or just trying to keep things kinda rough and organic. Think the skyline has dried enough that we can do the water. So I'm gonna rinse my brush. And again, I'm going to angle my paper so that it's easier for me. Paint a straight line. So I want to turn it. If you're left-handed, you would turn it the other way. But I want to turn it so I can very easily make this kind of emotion rather than fighting with my own anatomy to try and paint this. So for the water, I'm just going to do some indigo. Indigo is pretty muted already. Adding its hutch Of the blood stone genuine and you want it to be darkest along the horizon and then lighten as we move in to shore. Be careful of what does happen to me. Kinda flooded into the beach area. So if that's not dry it you may want to wait. And I'm just softening softening these edges with clean water and a damp brush. A little bit of darker pigment along that horizon line. Kind of feather that out. We'll add some more detail later. But for now, that's all I'm gonna do with the water. And then I think I'm going to let this dry completely. Before doing anything else. I think I will add another layer to the clouds, but right now I've got the paper weight too wet. We're also going to try and lift some of this purpley color out of my roof line, but we'll, we'll worry about that once this has dried completely. So go have a snack, go grab yourself a drink, make a cup of tea, and maybe plan on coming back in about 15, 20-25 minutes. You may want to check it or you may want to leave it for another day. And then once it's dry, we can resume painting and kinda pick up where we left off. 6. Sky Part 2: Okay. I'm back. I have let this dry completely, which took longer than I was expecting. I tried to scrub this o at all, but I think think these colors might be a little bit staining. So I'm just using a damp brush and just scrubbing gently to try and lift some of that color and ever tissue to kinda dab, but I'm not getting any color of the paper. So I think I would recommend using some masking fluid here, at least along this front edge of the roof so you don't have that happened to you. Going to attempt to redeem my clouds and I'm going to lay down some color and then feather off the edges and see if that doesn't help things a bit. So I'm just going to add some more color here just to kind of give these clouds and depth is gonna make it kind of random. And then with a clean, damp brush, I'm just going to soften most of the edges off. Kind of like some of those shapes that the cloud is making someone to leave some of it. I'll switch back, put a little more colored down. Man. Clean damp for arche, lifting and softening those edges. Like that. I don't know how I feel about that. I'm not really happy with how these clouds have turned out. But what are you gonna do? Too late now? It's kind of furthering out these edges and making sure to continuously clean and then dry my brush so that I'm not dragging color around where I don't want it. Softer edges. You want more water, fuel, more of a scruffy edge. You can add less water. I could I could have wet the entire sky. We re-read it. But I didn't really want to do that. So it wasn't sure what this paper was gonna do. Now wondering If I shouldn't have done that. Because this is not behaving very well. Mixing up more of my muted blue, purple, I'm deviating now from the photograph clouds look like too much of a line across. Not fill on that. So now I really don't know what I'm doing. Just kinda making this up, trying to make the clouds different enough that they don't look contrived. And I don't know if that's possible anymore. I do like some of these edges that are happening, but not all of them. I'm seriously just making this up as I go because none of this is doing because I know what I had in mind for it to Now. Let's move on to the lower half of the frame. 7. Land Part 2: I'm going to add some shadow color. This is the same color as my clouds down into here. And I'm trying to leave a irregular edge along the bottom because there's grass there, like coming up in front of the building. And then there's also a shadow under here. And then we've got these little windows need some shadow. And also this side of the chimney will do the roof, but I'm gonna do that in a different color. Okay? So the reason for using this same color again, is because we're trying to create color harmony. I could use any color for the shadow, really, it would have been believable and fine. But the reason for this is it just helps. And to tie the piece together when you use the same colors throughout. And it may darken that later. We'll see switch over to smite yellows and my greens again. So Leaf Green and indigo make for a really fabulous Green. And I'm going to switch my brush up. I'm going to grab this rare brush. This is a faux squirrel synthetic rigor from Zen art supplies. This is just happens to be the rigor that I have. It really doesn't matter. Brand twice. Some grabbing some leaf green touch-up in day ago. Okay. A little bit more. Thanks. Thanks for some really nice bright green means just looking at my reference cooling. No, there's a few places where there's like some kind of brighter green foliage. So I like this brush because it mix. It's very springy as a really nice point on. And it makes some really interesting, kind of fun organic textures. You can make grass with it. But you can also make like little d Fy marks, which is great. So okay. Something happening here. Like that's a touch too dark. I'm adding a little water, trying to create some some foliage. I don't know exactly what these plants are. But the kind of to find the hillside here. So it's kind of trying to capture them. Some of it is grass, whoops. And some of it is more like a yellow color. So this is a lot of kind of the same sort of motion. But you wanna make sure you change it up. Because otherwise it will look to regular and to like it's all the same and predictable and it ends up looking, what's the word like? Synthetic? Do you know what I mean like to mechanical and nature is very random. And so when you're trying to mimic nature, it helps to try and be as random and is irregular as possible. Most of the time, any case, distant. Area over here is very yellowy and then I'm gonna drop some green in. Hopefully. It'll just kinda add its own variety. Got a little carried away with the foreground during their blotting that up. I think this paper is old because when I put the paint down, it just kinda goes everywhere. It's almost like what do you call it the sizing, basically the finishing that they do to the paper as if that has like I don't want to say expired, but like it's just not working properly anymore. At least it's not working the way I want to see. A little bit of color. I don't want to in the sky. Okay. So yeah, I'm just trying to kind of intersperse this lighter green as a starting point. And like we get over here, this is the hill, so the grass is starting to fall down the hill. So your brush marks should help convey that directionality. Starting to build. Some of these grasses over here. Again, looking at the reference photo, trying to pay attention to the directionality of the leaves so that my marks don't end up looking to regular, trying to throw in some random bits hearing there. I don't want to overdo it either. Just kind of like this very delicate balance that needs to happen and free to like practice these textures before diving in. I did. They absolutely did. I've been practicing because I wasn't really happy with how my grass was looking. Let's try and put some darker strokes on the right side of some of these bits. Because there was, there would be a shadow. The light is coming in this way. The shadow would fall on the right side. I'm going to grab some red, which looks really read right there, but really isn't fat saturated. More of a brown red, adding some of the Venetian yellow to it and a little water. I'm just going to add in some color variation, maybe some texture variation. This might be a good time to switch up the brush. I think another thing that it's important to kind of try to do is not make the base of your grass flat. It feels really weird when when it's flat, it looks weird. It just, it's very like feels very cutoff. O another tip. Your leaves to not have to connect to something. Your eye naturally will connect them. So if you have some leaves that are just kind of like off on their own, it's okay. Like you're I gives them a connection with the other things all by itself. Okay. Switching now to Naples, I feel like I want more green grass and just trying to kinda keep things random. And looking like, you know, bits of grass peeking through the sand at the beach, trying to put some kinds of green shadows in before and interested in words. So I'm going to try again. 8. Land Part 3: All right, so I've let this dry over the course of a couple of days. As you can see, the tape has lifted up a little bit. That tends to happen with washy tape because it's not really strong. It's no big deal. Just stick it right back down and continue on our way. Now that everything is dry, I think I'd like to check it some color in on that roof. So I'm gonna grab a smaller brush. This is a size four. And I'm gonna grab some of my, therefore lot ORed with a touch. Let's don't genuine. Just to drill it down a little bit. And I feel like that's too dark. So I rinsing my brush, releasing a lot of that color into my water jar. And then just coming back and dragging the pigment that's already on the paper out and spreading it around, grabbing a little bit more off my palette and just kind of filling in this whole shape. And I will get the roof line to Eve roof IV. The roof, this little under part and the front. That needs to dry, then we can add some more layers and some maybe some shadowing. Also want to add a shadow here in the sand on the beach. So I'm grabbing print on what was on my palette already. It's Indigo. Indigo and blood stone genuine. That's a little dark. So probably grab a little more water. And this is chateaux that kind of runs up the beach and indicates where the sand is wet. So I'm going to add that in and then come back and kind of my edges with a clean, clean, damp brush. We don't want to completely get rid of the edge of the shadow, but we want it to fade out nicely. Without that, we don't really have anything to kind of define where the beach starts and where the beach stops. A probably will add some more detail to the water. But I want that shadow on the sand or the wet sand, whatever however you want to call that. I think I want no, that was the wrong color. That was paralleling violet, not Gladstone genuine. Everything with this painting is just not going to plan. I don't know what it is. Maybe I'm losing my touch. I don't know. Maybe it's she's paper. It would be really convenient, wouldn't it? To blame the paper? Just not exactly behaving the way that I expect it to. Alright, I think I'm going to leave that how it is. Sure you don't have any hard edges. Before I messed up even more. I think what I would like to do at this point is switched to another brush. So set those round brushes side and I'm going to pick up my bamboo brush and get it wet. And then dab it off a lot. Because when it's too wet, doesn't the bristles don't spread out the way that I want them to. For this. Some really, I don't know how well you guys can see that, but I'm really just like mashing this brush. It looks all crazy and mangled. And that's ok. That's exactly what we want. And I'm just going to start trying to add some more random texture. I'm using the Venetian yellow earth with a tiny bit of the Naples yellow in it, just to lighten it, a smidge, which is earning few bits, get more texture in places. And if I can get the brush to cooperate and kind of want to make some more shorter marks. Just add texture to these white areas because I really don't want any part of the painting to be left completely white. Using this brush as like a stamp, almost to just add color and a little texture. And I think I want to start adding in some more darks. Now we've got a lot of lighter kind of colors established. I don't want there to be a path through this middle part, maybe, maybe even over here. So I'm grabbing my buff titanium and trying to ground some of these plants that we have established. This a little bit of darker color at the base. That's helping you do not want our plants to look like disembodied floating things, right? So now I'm going to go for some darker green. So I have got one of my favorite greens and it is this lovely olive green that granulocytes beautifully as it dries. It's called undersea Green from Daniel Smith. And just going to start adding the bits here and there. It's really going to bring these little tufts of grass to life. And if I'm going to concentrate dark color, I want to concentrate it on the shadow side, which in this case is, well the base of the plant will be in shadow, but also since the light is coming from the left, the shadow will be on the right side. Now, this isn't just like me arbitrarily deciding this is coming from just observing the way light behaves in nature. And I want some more darks. So I'm gonna grab some more of my Colonial red. Want this roof to be more saturated. It's a little washed out and I want it to be brighter. So I'm just carefully going over it again with more pigment. And this is the size or brush. If you don't have like an English red kind of a color, you can definitely opt for something like burnt sienna, which is a pretty common color, or venetian red. Anything that's kind of like a red, earthy color will work. It does not have to be the exact one that I got. Well, I do have to say I absolutely loved this color. I think it's my new favorite color. It's handmade watercolor, Brom Ruby mountain paint company. So I just grabbed some blood stone genuine off my mouth, my palette here and then I'm mixing it with this, which I think is air colonial read and Venetian or Vinny Or Naples yellow. I don't know. I'm mixing colors. I want kinda more of a brown for the base of the cottage here. I want to start establishing my darker colors because that is really going to set off all these lighter values that I've already got down on the paper. And I really loved this blood stone color. It's kinda like a purpley Brown. It has beautiful granular rating properties and it just makes everything look good. I don't know how else to describe it. It's such a fantastic color. I don't want to use it everywhere and we're do use it. I want to kind of feather it out so that it looks more like a shadow and less like, you know, a definitive shape. And if I get the paper wet and then drop it in, it's going to kind of do its own thing, Which is the beauty of this color. I'm gonna grab some more blood stone, kinda diluted a bit, and then come in here and continue to kind of drop it in and create shadows, rinsing the brush and then softening out everything that I just put down. And I kind of want to be random about it because sand kind of has like these dips and furrows in it. And it's not going to be even everywhere. This area looks a little bit light to me. Maybe that's too dark. I don't want any of the paper to look white, so I'm kind of trying to fill that in. Without making it too dark, I'm going to return to my under sea green now and hope continue creating some darks and some shadows. Just kind of trying to be random. Inorganic silica Put a little too much pigment down and a few these spots. So I'm just going to get some clean water and soften out those areas. Switching back to the rigor. And I want to add some more small details in here. Maybe bring more of the Ercolani will read, just mix with stroke on the palate. Like sprinkle it around so that it's not just in one place in the painting and in my reference doesn't really have flowers, but that's kind of what I'm going for here. I'm gonna grab some buffed titanium and mix it with this kind of random conglomerate I've got here on my pallet. See what kinda textures I can create. With that. I'm just trying to create interest and depth and variation. Let's crabs and this, It's, this bush seems a little bit light. This is the undersea Green. Oh, I need to paint this little shrub that's behind the house and keep forgetting about it. From voiceover. Amy, basically, at this point, I have established my light to medium values. So I'm evaluating the overall contrast to see where I need to add in some darker values with the intent of enhancing the amount of contrast in the piece. I'm adding some more dark here because I want to make that bush pop out more. These leaves in the reference, or almost all like a pale kind of a yellow color. But it's really hard to translate that to watercolour without doing a ton of masking. Switching back to the blood stone, dropping that in again in a few places, not really being super calculated. I'm just trying to add some visual interest. And again, softening those edges and letting it kind of flow haphazardly to create, I hope looks like more organic shadows are shapes. So I don't want to like draw any more grass or like I could noodle away at this forever drawing like every single little blade of grass. I really, really don't wanna do that. I don't want to encourage you to do. I mean, you're welcome to if that makes you happy. Some people like doing, you know, it's meditative to do repetitive kinds of marks. But I personally am, I'm feeling, feeling like I'm putting too much detail. So I kind of want to wrap up my level of detail here. Going to drop in a few more greens here in the distance. I want to create a little more separation there. Oops. That's too dark. 9. Final Details: Okay, so there's a few more things. I want to add some more, little bit more detail to the beach. There's a lot of texture going on. I don't think I want this brush anymore. I think I'm going to switch back to my size four round. Gonna grab some of that blood stone genuine and wanna diluted down, but I don't want too much water on my brush. Congress wanna make some dry brush marks. And then just kinda smooth out what I did with the other brush so that the beach isn't just like a blob. Think that looks pretty good. I'm gonna grab some day. We did a bit. And I'm going to turn my, my board here a little bit like that so I can get a good angle and I've already got like a shadow on the horizon line and could enhance that a bit. I'm gonna tap my brush on my towel and do a little bit of dry brush, rinsing the brush and then just feathering some of the edges out. Like that is kind of a wave here. And went down a little dark. So I'm adding some clean water. Just softening that out. And that's all I'm gonna do for water. Think if anything, we could add a little bit more. Whoops. Shadow here on the beach. Grabbing small blood stone, genuine. Just kind of rinsing the brash. Softening. Watercolor is laying down color, softening it off, hanging down color, softening off the edges. And just kind of repeating that. I don't know how I got such a dark bit. And I'm going to leave that. Alright, let's see. I want to add some more darks to the little cottage, So I'm mixing blood stone with ultramarine, not ultimately in indigo. To me. Kind of like a shadow, a blue color. And I'm gonna come in and dark and all these little window panes. And there's lots of ways to do Windows. I find the easiest thing to do is just make them like a dark color that kind of looks like the inside of the house is in shadow. And so just for the sake of simplicity, that's what I'm doing here. I am no expert on pain buildings every Go dropping in some more color. I think that right now, I'm just trying to assess my contrast. Now. The roof needs to be darker and it needs to be more in shadow. The side that is, chateaux needs to be more shadow. We, so I'm gonna grab some Yoko Ono rad and mix that with the blood stone to get like a rich, kind of a chocolatey Brown. And I'm gonna do the roof. But I want to make sure that I leave that front edge of the roof line and not dark in it because that part of the roof would be being hit with light, the sunlight. So I don't want to darken that. And then I think I want to make the chimney and different color, slightly different color, I should say. I think I wanted to do more of the blood stone on the chimney. You can probably do this shadows some spit and then going to get a little bit of war. And then doing the IV under here that needs to be darker to that would be in shadow. So it would be pretty dark under there. Grabbing some more blood stone, some of that indigo from the palette. And I'm just going to darken this up a lot. And I also want to make the bottom edge of the roof dark, but it's probably too wet for me to do that right now without bleeding everywhere. So we're going to wait. And I want to try doing some shadows now, some more shadows here. So I'm gonna grab paralleling violet, indigo, which if you recall, is the same mix we used in the sky. I don't want to dilute it down a lot. Really pretty, but oh my gosh, too much. Okay. Lot of water. Trying it again. Okay. That looks good to me. Maybe even a little more water. And just going to add some shadows in to kind of make it look like, I don't know, like maybe lumpy sand. And then what what brush softening edges, some edges. Not all. That makes sense. Now I want to do I was going to try and scrape. Course. I forgotten to do with monuments wet, not a master of that technique. All right, so I've got my little papers here. I'm just going to cover up the mean. Whoops, I'm dropping stuff. The mean portion of the Ps. Okay. So I'm going to use use the rigor brush, do my splatter. And I'm gonna start by just getting a little water splattered out so that somehow the spotter droplets will bleed, which will kinda create a nice effect. And grabbing blood stone genuine, diluting it a touch, really loading the brush, really saturating the brush. I'm just gonna go with my splatter all this away. And I want to leave that there. I don't really want it on the beach since the beach is too far away, in my opinion, to really have much in the way of splat or that would be visible rinsing the brush. Then I'm gonna grab some Phoenician yellow splattered that around. Maybe some buff titanium. I don't know if this will even be visible, but we're gonna do it. Let's do some Delano red with blood stone. Fairly diluted mix are really like spotter arise if this is not your thing, don't feel like you have to do it. I just really like it. I think that that's good. I'm going to pull my shield of the way. Let's go back. I think my roof is not dark enough. I feel like it would be darker. So I'm going to repeat what I did. And what really dark wash. Eric Delano mixed with blood stone. Genuine. This is almost entirely blood stone, but I really, really wanted to create some contrast here and really express how that part of the house is in shadow, mixing up some more of my purple, dropping some of that in there as well. There's one more thing I wanted to do. What I want to wait until that's dry. So while we wait for that, we're going to put our finishing touches. I'm grabbing my blood stone genuine. And I'm going to put some birds in the sky and I want them to kind of balance the house. So I'm probably going to put them roughly here. If you're going to do birds or any kinds of groups of objects, it tends to be more visually appealing if they are in odd numbers. So three or five is a good place to start. Alright, so I've got my size for sable blend and I'm going to do some birds in the sky. Whoops. And when I do birds, it's just kind of like a v, a slush of B and a swash. It's not really anything fancy. And you can just kind of very V's. So you can do short swaption along v, Or you can do something more like that, play around with it and mix it up. I'm not that great at it. As you can probably tell. But I think it's a nice touch. I just add some interest to the sky. So I'm just gonna go for it and hope fully the turn out. Okay. Sorry if my fat has and the camera I can't really see. Ok, there's my birds think it's dry. So we're going to add some these final little details to the roof lines. I want this to be darker. You could add a little more shadow here. If my brush will work under the roof line P1 and just kind of feather that out. And let's see, I could make this darker. Thank here, just to help it pop the front of the house more. And I think that is it. I think I'm going to call this done. I hope you enjoyed this. It didn't exactly go to plan because of this paper, but that's just kind of part of painting. Like it doesn't always go exactly how you want it. It's just the nature of the beast. The best thing to do is just go with the flow and see what happens and see like, you know, just try to make the best of it. And even if it doesn't come out exactly how you envisioned, which, to be honest, nothing ever does. You're going to learn stuff along the way and you're going to learn how to combat those things. So every time every painting session is valuable, there's always something to be gained. Alright? Well, thank you so much for being here. Thank you so much for joining me. I hope you're having a wonderful day and I wish you happy painting and I'll see you in the next one. Take care. Bye bye.