Atmospheric Natural Landscapes In Watercolor

1. Introduction: Welcome to the thrilling and captivating world of watercolor painting. As a beginner, mastering the art of creating a loose yet accurate painting can feel overwhelming and daunting. Where do you start? What techniques do you use? How do you bring your vision to life on paper? Natural landscapes are fascinating. The combination of trees, water, wildlife, interesting objects and people make the perfect subject for a painting. In atmospheric natural landscapes and watercolor, you'll discover all the essential processes and techniques you need to turn any natural landscape photograph into a loose and atmospheric painting. With my guidance, you'll learn how to create a masterpiece that not only captures the essence of the scene, but also showcases a unique creative style. With my guidance, you'll learn how to create a masterpiece that not only captures the essence of a scene, but also showcases your unique creative style. I'll demonstrate my entire process in real time, from the initial drawing and composition of the scene to the careful layering of light and shadows and the final addition of details and highlights. Join me on this exhilarating adventure into the world of watercolors. And you'll learn how to create all inspiring paintings with ease and precision. Whether you're an experienced artist or a curious beginner, this class will equip you with the tools and techniques to unlock your full creative potential. I'm excited to get started. Let's unleash your inner artist together. 2. Materials Required: All right, so before we get started, I want to go through some of my materials. And what I've got here is my palette right in the center. It's a porcelain palette. I barely clean this thing, but as you can see, I've got all the colors around the edges. There's two large mixing wells, and if you're going to get a palette, always make sure, preferably to have larger mixing wells because it just makes it a lot easier to get larger pools of paint. Don't have to keep going back remixing the same wash. It just gives you a lot more freedom, especially to combine different colors on the palette as well. Now starting off from the left, I've got a bunch of different colors here. So this is Cronacodone gold. I've got yellow ochre, Perrellene orange, Rinacodone orange over here. I've got over here, Pilin red, Hanz yellow, light, cerulean blue. A couple of other interesting colors here. This is a color called lavender, which is like a lilac color. This is a cobalt teal, ultramarine blue, burnt sienna, burnt umber green. This is a color called undersea green. But you can use anything, basically, any dark green could be Hookers green, it could be olive green. You can even mix up your own green by mixing your ultramarine with any yellow. We've got a bunch of purples here, as well as neutral tint and of course, a bit of white guash. This is opaque water color that helps you to get in some of these little high lights as you see right at the end, on the rocks and on the people. That's basically about it. But if you have basically just your primary colors, if you've got your ultramarine blue, a yellow, preferably a yellow ochre, that's going to be a lot easier to just create duller yellow tones. And also a paraline red or permanent red. This color here, neutral tint, is just a convenience color. It's basically a convenience gray color, but you can mix up your own gray if you combine your three primary colors together, red, yellow, and blue. The paper that I'm using in this class is 100% cotton paper and it's also textured so it's cold press. Okay. As you can see, it does have a little bit of texture on the surface. It's very important and I think when you're starting out as a beginner and even a lot of professional artists, most of us use cold press paper, especially when we're looking at landscapes. If you're using hot press paper, it's very difficult to control the water pools and you don't get these incidental marks on the paper where the brush skips over. Recommend that 100% cotton if you have that available where you're at. But again, you can use other types of watercolor paper as well, that's not cotton. It's just that it's going to be more difficult to layer over the top without lifting off the previous layers of paint. Now, in terms of brushes, these are the brushes I recommend. These are a bunch of watercolor mop brushes, and they have larger bellies, which allow you to hold a lot of paints in the brush. But they also have a sharp tip which allows you to cut around objects. Very crucial when you're painting water colors, so you can leave some of that previous wash behind. The larger belly allows you to pick up lots of paint and lots of water without having to continually go back and forward between your palettes. So these are absolutely crucial. These are what I call detailing brushes here. Synthetic brushes. Synthetic round brush. I've got a synthetic flat brush here in the center. I've got this special one here. It's a little fan brush which allows me to guess, just get in little bits of grass very quickly without having to do individual strokes with a round brush. These are very important brushes as well at the end. But probably you can get by if you just have your mop brushes. It's just not going to be as detailed. You could probably just get by maybe with a little round brush or a flat brush along with a couple of mop brushes. 3. Bush Landscape - Drawing: We're going to go start off with the drawing. What I want to do as always, just separate the horizon line with the ground. Ok, let's put it around about here. Just above the center part of the page. We've got enough sky left in here, just a little bit above the center line. To simplify this down, I'm going to go straight for this mountain up in the top. This goes all the way down to about the center of the page here. It's like a hill really coming down here. Lots of yellowish sand and shrubs growing on an angle downwards, even over the top. You don't have to get all that stuff in, just the line that goes through like that hits the sky. Okay. Another shrub here or a tree in the background. You can see as they get closer there, this path as well. We know that it comes in roughly from the corner, then winds all the way through to the center of the page like that everything here to the left is just water. But we do have a bit of these shrubs across onto the water as well like that. But the rest of the rest of the same thing, this is a reflection. I'm getting here as well. Just a little indication of the reflection. That will be blue water down the base. There's a strip of grass and then you can see some dirt running around this grass. But you do have a line of grass running through the center of the scene here. And I'm just going to indicate that like this, not much, but just something like that. Remind myself to get in those strands of grass there. But you do have tufts of grass and things here. Even like a shrub that's here as well over the right hand side. Same deal, just indication of that there. And a larger tree there again, in the background. There's another tree there. There's a larger tree also here that just runs up going off like this. You can see some branches also wind off to the left hand side. I thought I'd emphasize this a little bit more because the tree is mostly out of frame. But I want to make it a bit more, add some more branches in there like that, give it a bit more presence. It's darker tree like that. There's even a tree here that I'll just draw in quickly, dark branches. But here in the background we do have one that comes up there and it forms, it's like a central point of the scene that it just goes up, disappears off to the top of the page like that, comes back down, you've got, there's really a couple of Y shaped parts here. Just branches the turns into a couple of other branches. This one here you can see branches off as well like that comes down is like a larger also branch that just runs up like this. Two. That's what you'll notice with the pattern with these trees is that they just branch off into these y shaped patterns. The great thing about these landscapes is that you don't really have to bother getting in exactly what you see, You just use it as a generic structure and all the branches follow that same structure. Even though they may vary by a degree or just by a little angle here or there, it's still going to look like a tree as long as you follow that main structure and don't overthink it. As you can see, I'm just drawing it in, but I'm not spending a whole lot of time because at the end of the day, we're going to go over this same thing with the brush. And I find that even the intricate details, you will have to redo them. Anyway. The main thing is just the trunk of the tree. You really want to focus on making sure that you have enough detail in that trunk. Okay? Because that's going to form the basis of the rest of the tree. You've got a solid trunk and it's going to make it a lot easier later on. Okay. There's branches, just one branch that goes across like that, of course, another, a larger one that goes off to the left, like I have to get this one into that. Again, this y shape pattern of the branches just going up like this, O. I can just emphasize this one a bit more as well. You can see it just going up near the mountains in the left hand side. Again, certainly something that you want to imply at this stage. Once we get into the actual brush work, it's going to be a lot easier. Yeah, a little bit of that going on. You can see there's like leaves and that as well. These trees off in the background, they have lighter trunks. We can put maybe a think whether we want to put in a figure just walking around here in the distance like that, Just ahead of a figure, another person here, perhaps. It's a nice little walking trail. Okay. Maybe make the body a little larger, Something like that. Okay, good. I may actually lower those figures down a touch. The heads are a bit too high up. I want to pop the heads around about the horizon line here. Okay, That maybe a couple of figures like this, just walking through the scene, whether we want to put someone here or not, that's a tricky one. I'm thinking maybe let's just try add someone in there like that. Now, here in the foreground, we've also got some of these branches, trees, and this one is snapped off here. This will make a nice shadow that I can put in. I want to get that shadow coming in on an angle. This tree here is going to be useful as well because we'll be able to get in a shadow. This is very loose shadows that I'll get in afterwards. Soft shadows that go over the top of all this grass and what have you here. We've got another tree, like a branch. I like the framing of this because it comes through and then it disappears off on the left side of the scene like that. It just makes things look a bit more interesting. Bits of grass as well running through everywhere. It's going to look a little bit messier in this left section here. Okay? But I think this is going to be good to go, So let's go ahead and get started on the painting. 4. Bush Landscape - First Wash: The first thing I'm going to use, I'm going to go over the top with some of the yellows. First I've got over here a bit of this yellow ochre. I'm going to mix a bit of conacrodone gold in it as well, just to create a bit more vibrant. Do have some other Hansa yellow there as well. I think a bit of Hansa yellow plus the yellow ochre is just great to get a general nice yellowish in there that doesn't look too over saturated all the way through there. That's really where the edge of the mountains finish like that. The hills, what I like to do is really go over almost not all of it, but most of the scent except for that part of the water, which is just bluish color. Okay, we'll do the reflection a bit later as well, but as you see Flick the brush all the way through because I want to get a soft color, nice, soft yellow is running through this scene because when we go over it afterwards with a bit of green paint or a bit of blue, you'll find that this is just going to turn green anyway. But a touch of warmth in here really balances out the greens and the cooler colors later on. It's very hard to get in those yellows afterwards as well. If you've missed out a part, you tend to find that I accidentally mix up some other colors, greens the yellow in. If you get more yellow in, especially in areas where you don't anticipate there being too much yellow, you can always turn it into green afterwards. Anyway, in the ground, I'm picking up a little bit of brown, brown ochre here on the side, dropping that in, in sections you can do, notice that some of it in the background as well. You can drop in a little bit here and there. All right, a bit of brown. But you do have a little reflections of blue as well in here, which is interesting, just soft browns running through. And I'll go over the top as well with some of the green in a moment, but I just want to get in this muddy look. In some sections, maybe add in a bit of other color, like a bit of this grayish color as well from my last mix. Okay, so you've got some darker bits and pieces in here. Okay, running through that. Okay, let's have a look as well at the sky. I want to start putting in some of these blues. While we've got a chance to do so, let's have a look now. I'm going to pick up cerulean, a bit of cerulean with the mop brush. Let's just drop that straight into the sky. I think this is the easiest part to do first. Actually, what I'll do is perhaps wet down a bit of some portions of the sky just to put a bit of water here and there, just like that. And then I'll go in with the blue that it just mixes in a bit better still the trunks of that tree as well. We just got to be careful with that too, so that we've left a bit of white on there. It doesn't matter. Not a big deal. We can go over it again afterwards. I don't want to ruin a good wash. It's such a light blue color, it's easy to go over it with some brown afterwards. There we have it. I'm trying to just join that sky on as well a bit with the distant mountains and things. Of course afterwards I'm going to redo mountains and hills just to give it a bit more strength. Simple like this here it goes around the trees and simple are that part is actually brown, but it doesn't matter. Very light blue. You don't want to overdo it. 10% 10% paint. And the rest of it's just water here in the water as well. Here to the left, you'll see there's a lot of these blues. I'm just indicating a bit of those blues there. Okay, drop it in, and then simply just move on. That, remember only getting in, we're just getting in the, these really light colors first. Don't worry about the details, just get in the light colors. You'll notice here as well there's some puddles. And these puddles here, because they did rain a little bit earlier, you'll see that it reflects the sky as well. A little bit of blue here and there. Where these figures are walking. You might even want to add in a bit here or something like that. Let's just see, it's easy enough to get rid of afterwards. If we've overdone it, let's pick up a bit of green. I have this color here which is called under green. It's a dark green basically, and I mix that up with a bit of yellow to create a lighter green color. This is where I'm going to pop in some of these green bits here. Just the grass hits parts of the, the water here, encouraging it to blend together as well, that get some darker bits. Why not? And then lighten it up with a bit of yellow if it's too strong that goes through the water like that. But we don't want to eliminate that blue as well. If I can leave a fair bit of it in, that's ideal. Okay, over here to the left, we're going to get in some more greens mixing in with those brown and things like that here as well. Dropping that in here, there are some darker browns actually in here, but I'm not going to worry too much about that. Let's work our way through this dropping it in because the paint is still wet. We can play around with all these nice wet and wet effects as you can see leave those nice blue puddles and stuff in there as well. I will pick up a bit more brown ochre and drop some of this in here as well. Just to mix it up so that we've got some additional brown and green mix them together like that, because they do blend together a bit. Now the whole bit of paper that you're painting on should be, as you can see, almost completely filled with color. This is the point where we can start putting in some detail, some small little details. I'm going to pick up a fan brush. What else do we have here? Fan brush, like a little rigger brush as well. That tends to work well. So these two brushes here, they help to create finer marks on the surface of the paper without, without adding too much paint and disrupting that previous wash. But I do like to let it dry for a bit, so I'll sit there for a minute or so while I search around from other brushes. This is another brush I'd like to use, a little tiny little flat brush. Okay? And we're still in this sort of wet and wet stage of the painting, where we are doing our best, doing our best to put in little details. So I think what I'll do first is go with the, I'll go with these two brushes, the flat brush and the little fan brush. And it's important to let this dry a little bit and check the paper. Look at it on an angle and see there should be a little sheen on the, on the paper. It's still wet depending on where you live in the world. If it's hot, you'll find that the paper will start to dry quickly. You might have to go in faster than what I've done today. I'm going to pick up a bit of darker green. Let's have a look at what sections we want to imply, what we want to get in here in the background. I really think we can start off there first. Let's just start with a bit of this color, a bit of this green. It's mostly, still just water, But because it's quite a dark paint, you'll find that you don't need to put too much of it in. Just pick up a bit of that dark paint. Drop it in where the edge you can see the edge of these trees touch the sky. Just give it a, just give it a little touch there and let it blend in that. Okay. And you can see that God goes all the way down to the back like that, just a bit of darker green. That's all you need in there. And then you can see as you know, these shrubs, as they come down the hill especially, you can mix in a bit of brown as well. In here, it's not just the same green. You might get little tufts of other brownish bits of grass and things coming down like that. Okay? But again, I just want to really monitor this to make sure I'm not putting in too much paint. Okay, As I moved down through here as well, Let's get back to that green again. Back to that green bit of yellow in there. Okay? And here you can see it get onto the edge of the water, but as you can see, I'm leaving bits of this yellow. It's nice yellow still showing through in the back. Okay. But it touches the water roughly here, but you've still got a bit of that yellow in the, soften, this edge of touch over there in here as well. Okay? So you can see it just hits the water. Right there. This is where I'm going to probably start to make it a bit darker. But before I do that, before I do that, I'll give this a second because I want there to be a sharp reflection in the water. If I go in there now, it's going to just spread into the blue and cause a bit of a mess. I can leave that for now. Let's move on to the right hand side of the painting. A bit more of that bit of light green mixing here. And drop that in here to the right hand side. I'm still using this flat brush. You can also use this brush as well. It's a, a little fan brush. This helps maybe to get in some different brush strokes and things like that. Okay, it's always important, in my opinion, to use different brushes to get in shapes. A variety of shapes creates a more interesting looking composition. But again, not to overdo it and use too many brushes as well. Here the, I'm just still dropping a bit of that green into the sky. And that sky, it's still wet. It's still slightly damp. It allows me to do this without making a sharp edges in the background. Even when the paper is a little bit damp, you can get away with it. All right, as we move down into the front of the scene, I'm going to pick up some little bits of green. Let's just drop in a bit here Here some vertical strokes contrasting with that lighter yellow and stuff in the background. The shrubs as well here can drop in a bit of that paint more green. I also have some purples mixed in here as well, and that helps to further darken down this section. This tree is, it's actually quite a dark brown as well, but I'm going to work on just darkening some of these greens, especially when we get closer to the foreground. You notice these trees that are closer, they're darker. You want to just darken those trees a little bit as I'm doing here to show a difference between the background and the foreground. But we also want to leave in, as you can see, bits of that yellow there as well. You don't want to get rid of all that yellow, the contrast between the yellows and the darker greens, That's going to make the scene look a lot more interesting and more convincing than if you just make everything dark. Self control is very important at this stage, probably for beginners. Anyway, for myself, I found that I was just going in and overworking things to the point that I'd, I would accidentally get rid of all those beautiful high lights in the first wash, and if you do that, you're going to regret it. Make sure you're leaving in these little bits, but there are a contrast between light and dark still. All right, let's have a look down the center of the scene. That's another thing as well. We've got some tufts of grass, and this is going over the top of it, even though it's still slightly wet. The paper is beginning to dry. This makes the grass look softer, fluffier, this nice yellow through the center. Again, I don't want to get rid of all of that. I just got to be so careful that don't eliminate it entirely. But we want to have this seamless integration of the grass, this green grass with the browns and things in here as well. And see these little tufts and sharper bits of grass here. That's good too. That's also good because we want to make sure that we have a variety of different brush strokes this side here. I better start working on this side because I've forgotten about it already. But a bit of yellow and a bit of green. Okay, To get a light green color running through here, this area has already started dry, but at the same time, we're still pretty good. We still have time to go in and add in a bit of that green into that mix. And it will still go through and blend nicely and some darker greens as well. Why not add in a little bit of darker green? It will mix in, don't worry. And remember to leave bits of the previous wash there too. Don't color the whole thing in here where it meets the water. You'll see that there are some sharper edges and things like that. Just leave it in. Just leave some of those sharp edges. Don't turn it all into the same color. Okay, so we've got a couple of bits and pieces like that. What else do we have? Really, it's, again, just the same old technique that we're using. I'm going to start working on this background section and put in some darker colors. Let's have a look around here. Let's get in. It's like a brownish, a brownish green, isn't it? Like a brown green. Touch on to the edge of this section like that, you can see here. I can just touch on to the edge like that. Work my way through, bring this shadow down. Of course there's a branch here as well. I'm just going to try to cut around that branch. Not make it too neat, just blend it, but not worry too much. It goes all the way to the back and you can see it just come down there. And that's why that little outline of the shadow I did there in pencil before really helps because I don't have to think too much now as to where the edge of this reflection on the water is. It's like a brown and green mix. A brown and a green mix, pretty dark. A lot of it is just pure paint. I would say it's about 80% paint, 20% water. As we come down like this. It's a sharp shadow reflection here that forms on the water. But I've left little bits. Can you see just little bits of the yellow and the previous wash in there as well? Okay. Don't worry about getting it all in. Some of these tiny little, the tiny little sharper bits of light in there of the previous wash actually makes it look more realistic. I'll bring some of this down as well here. This reflection. There could be something else just getting in the way. You can see that these reflections are not like the most, you got some bits of this like a tree branch or something going over there. You got shapes like tree branches and things that are out of the scene. Maybe out in the back end. And they are creating, creating a little bit of a shadow as well in the water. Reflection in the water, implying that help using that split up, bring that reflection through the water. Without it, is there still a separation between the water and the reflection, but there's still these little parts that join the water on. I think that's going to look better if I do it that way. Okay. Looking again at that reflection and seeing whether it's the color that I want, I can put in a bit more. I think it just needs a little bit more green in some areas underneath this part as well. Here you see actually noticed it comes in a bit more like that and then disappears off like this. There I do think a little bit more green mixed into the top would be good here. A little bit more darker green. Just join that on with the. Yeah, join that on with that reflection a bit better. Look bit more green. Oops, that is too dark. Doesn't matter. Just put a spit some water in there and that will help. Maybe some darker greens running through the bit of yellow. Okay. This is again, just to indicate the fact that there are there are basically some darker shrubs here in the front. I'm mixing in a little bit of white guash as well here because I find that I think it will just help to indicate the edge better. The edge is a little better like that. See how it blends into that reflection nicely like that and just let it do its thing. Okay. What else do we have out in the background? Yeah, there's not all that much. I think I'll leave the background. I'm getting too close to the back and I'll let that spread downwards and do its magic over here. Some more of that green mixed in with yellow. Let's have a look here on the right hand side as well, We've got, what else do we have here? Yeah, I think I'll be just mixing in a little bit more green up here to continue that edge of that bush there that's a bit more towards the front here in the foreground. This is a great time to just continue on with that fan brush. Notice how a lot of this area is now starting to dry. You'll find that you can just feather in. Bits of color. And you can use a rigger brush like this, a smaller rigger brush as well. If you don't have a fan brush, these rigger brushes are fantastic. But a little bit of this fan brush to create some lighter tops of grass running through here. Another thing you can do as well, if the paper hasn't completely dried off, is to pick up, pick up a pocket knife like this or a credit card and you can actually scratch out little tufts of grass. I'm going to just get that ready, but first while that's happening, I'll put in some of these darker tufts here to the left. Again, we're going to remember where the shadow is coming from. It's coming from that right hand side. We're going to get in a little bit of shadow shape. If I go ahead and do that, then I can go and put in some softer shadows of this tree there afterwards. I may or may not do it. I'm just thinking whether we want to even bother with that shadow or not, But I think it would be a good idea to give it a touch more contrast. Okay, Touch more contrast here and there, leaving some of that blue as well in there. You can see even here, there's like these darker sections, a little darker sections here near where the tree is. Even just like here. Important to get some of this stuff in as well. I'm going to go right into the tree with this darker color. This is a bit of brown. I'll mix in a bit. Maybe grayish color as well. Just a bit of black at the top. And dilute that down to touch. Keep things looking a bit more interesting. Yeah, I'm still using this fan brush. I think I will actually switch over to this brush here, which is a, which is a little flat brush. Okay. Like that here. There I've left in, see on the tree trunk, a little bit of that yellow, doesn't matter. I think that actually looks better if you leave, leave out bits and pieces. Okay. Looks like there's a bit of a high light on that tree like this. But the base of it I do find make the base just connect it to the ground like that. There we have it. There's another branch or something there that's connecting onto that tree. Can you see that? Just like that. Look, the rigger brush here would be perfect. Where is it just this little rig brush to emphasize some of these small, tiny little details without overdoing things? That flat brush before was just a bit too much. You've got this part of the tree branch that comes off the tree as well here to the left. Let's just get that in. I think the flat brush will be better for this edge of that flat brush. Some of this stuff here as well. Join that on make the left side of that tree a touch darker to indicate the shadow. I guess on the left side of that tree, there's another branch or something coming off to the left. That there we have it. 5. Bush Landscape - Shadow: This shadow that I want to put in here, I want to make it a little darker, a little bit purple as well. I'm going to spray down this section of the paper a little bit with some water. That's going to help everything to blend together. We'll go across some darker purple here, but I'm going to mix it in with a bit of brown and a bit of that green so that it doesn't turn into like a completely different color. But it does have purplish hues in there. Let's just do this across like that. Maybe I've got actually a larger brush, This is going to be better. I feel having a small brush that have to fiddle around too much here, look, we can just get in this soft shadow coming across like that of this tree. Of course, there are other trees and shadows and things in there as well that I can blend through like that. Make it look a bit better. Okay. And of course, the shadow of this tree here, oops, it's actually running the wrong direction. Should be running this way. That soft shadows and this is running to the left there. Sometimes you just got to alter these shadows a bit as well as you go. Only that we can have some shadows that are coming from another direction outside the scene like this. Okay? Into the foreground. Okay. That coming across the scene. I think this will make it look a bit more interesting. I've made the shadows pretty soft. I don't want it to imply strong sunlight, but just some light source from the right hand side, the little branches that you sometimes get that cross over between the shadows as well, using this smaller brush, look at that, just a tiny touch there. It's all done wet and wet. The paper is still wet. Okay. This is crucial so that you Yeah, crucial, so that you don't really make anything look too harsh. Okay. There are some sharper bits here, but that's actually good because we've got all the softness in there. A bit of that sharpness is going to help. We're going to continually work on this, this section. Like I was saying before, there could do with a bit more fan brushing. Let's have a look. Some yellow, put a bit of yellow. And this is really just going to be green now because of putting a lot of the previous bit of the previous greens in there. A bit of that green, okay, Like this, that in here as well. This section here could do with a bit of sharper greens there in the background. You're going to just feather that in nicely so that there's a difference contrast between the foreground and the background there. But you've got a nice bit of yellow still showing through that clearing. Let's have a look here, a bit more of this. Again, this darker color. I do want the background of this section to be a little bit darker. The only way to do that is to yeah, basically drop in slightly darker layer of paint through the back. Running like that. I do have a little bit of guash mixed in there as well. Okay. But you can see the trees right in the back. There's not really much happening there. Okay. Just another layer of paint here in the foreground. Let's just continue to work on some of these bits and pieces. Purple, purple shadows. I just want to jig some of them like this, redo them a little so that they cross over a bit more, cross over the scene and appear darker, especially in the foreground here, I think a little bit more color would be good. It's still wet, so you're going to be okay, darker greens. Let's look at some tufts of grass that are darker here. You can put in a few quick brush strokes there for some of these greens. That section that there's little tufts here that have a darker section on them. Can you see just these little tufts of grass here as well that have a darker shape? We can emphasize the. Near the base of the tree, you know, look, there's all this stuff lying around in the darkness. That's going to be handy to indicate. Okay, good. Just trying to make these branches on this smaller tree a bit more noticeable. Even see some little ones here in the background as well that you can just use that, a smaller brush to indicate even a righ dropping that rigger brush through there. And bring that brush up to get the vertical branches like this just run up out of the scene. We've got this one in the middle that I really want to do now. I'm going to use some brown maybe. I'll do the sections of, I'll get the light in afterwards on the right hand side with a little bit of gas. I don't want to bother with that yet. Just get in the darkness of the branches that and see how, like I was saying before, it really pays to just a quick sketch initially and then do the rest of this afterwards so that you're not drawing half the time, okay? You can see just so much, so many of these branches all coming off in different directions and you can only get to a certain point, can only apply part of this, can't get all of it in. Okay. Skip over the paper in sections as well so that you're not drawing every single line in, leaving some broken edges for those lines. And that actually helps a lot to indicate the, indicate the light hitting parts of those branches. Okay, look, here's more. They really just go branch off from this tree is gigantic tree and just go through in here and what have you as well. Okay. The trick is yeah, to fiddle around too much it into the point where you feel like it looks half decent and then just refine what you've painted. But I do want all this to melt in nicely with everything you can see here as well. There's like some branches that just go over to the right. There's a branch, even from this tree that I didn't get in before, but it actually goes all the way across to the left hand side of the scene like that. I'll emphasize it a bit more. Maybe with a branch going upwards like that as well. Joining on it helps to join on the rest of the scene. Paint in another few little bits and pieces there as well. Because I've noticed there's not enough darks running through that section, so I can paint in a bit there. Just through that section. Okay, we are certainly getting there. Tufts darker bits here would be good to add in a bit. What I mean, like these little tufts, darker grass, shrubs and things like that, just makes it look more realistic. Because you do have different values in here. Not just the same colors and same values. A little bit of that running through left the water. I think that looks pretty good. Got a bit of that shadow running in. Can I scratch off a few of these? There we go. So I can actually scratch out a little bits of grass and things in here as well. Okay. But it's a continual work in progress and you can just get more paint, really, and feather it in as you go. Like for instance here, I want some more sharper bits of grass. I can just feather in like that feather a bit in like that bit of gas in here as well. Just sharper tufts of grass and things. Some darker bits as well that you might get just on the left side of these tufts. It's really important to have contrasts with the grasses. Drop 80 in that there are some, these trees here as well, which I will get in a bit of color for. Let's put in brown on the right hand side. Maybe a bit of yellow ochre, bit of yellow ochre or something on this one. Then we'll do the same here. Bit of yellow ochre on the right hand side like that. I can even just drop in a touch here on part of this treat. No big deal. I can actually, my initial plan was just to get some gash in and finish it off. Afterwards these figures, I need to put in some colors for these figures. You can even leave the shirts white, but I do want to put in maybe a bit of, maybe blue for this, one, bit of blue for that one. I might just leave that one that same color, maybe touch of purple around some parts like here. A bit of purple or something there, but leave the shirt white. This one here, maybe a little reddish color. I was thinking orange or something. Something warm running through here. A bit of warm color for a shirt or something like that. You can put in the person, the head of the figure a little bit later. But now we're okay just to keep it like this. Trying to blend that tree in a bit. The trunk into the background or touch it was just a bit too much of a hard edge there. Any hard edges that you want to flatten out? Just pick up a bit of water and then rub on the paper like this. You can actually smooth, remove some of these sharper edges. You can do it afterwards or you can do it now. I find doing it just while the paint is slightly damp, It, yeah, it just looks a bit better. It's easier to do it this way. Okay. Now let's again, just work on these trees to the left, bit of darker color here, behind that tree branch running to the left, it's basically just brown and black mixed together. Okay. And it comes down to that. You've got this bit of branch or this tree there, the left side of it here as well there. Of course the shadow of it is going to be somewhat important if I can. Yeah, just getting a bit of that shadow like this. Same with this one. I've already done it in the previous wash, but it's just re emphasizing it. I suppose here I don't want it to be too dark as well. O there we have it got a couple of trees just running through like that. What other areas can we potentially emphasize? We've got, again, this rigor brush that I just love using for detailing and picking up small little details. I'm using just like the darkest color. It's just, it's neutral tint, really dark, neutral tint. Okay. To get in some slight details in areas, you look at these branches and spend time doing this because the tree is actually very detailed. There's so much going on in there, The longer you spend on it, it's really up to you. You can spend lots of time on it, or you can just keep it looking pretty basic. I do want to extend this potentially. I want to extend it over to the left a bit more because there's nothing over there. There's no trees or anything joining this up. It's looking a bit bare. This big tree and you notice there's some areas that it just starts to bloom here. Don't worry about it. Just let it do its thing here. I can just potentially get in a branch or something coming in from the edge of the scene. Look, making it look like there's something in there. This is helping to create contrast. So crucial to create contrast so that the background appears separate from the foreground. Of course, you've got all these softer, lighter areas in the back as well. Just being wary not to overdo it too much. Okay. To overdo it and want to leave in enough enough running through there. Even I've probably done it a bit here. So you can just lift off and scrub away at bits if you feel like it's like you've overdone it. These branches coming over to the left hand side like that. We still have the leaves to put on there as well, deciding we'll make those leaves basic as well, because I don't want it to get in the way of the sky and all that. But notice how all this dark color, this really dark black color that I'm using, the contrast that it creates really helps to bring out the light in the scene even like sticks and rocks and stuff as well. You can just bring out like some, touch it on the paper and create a little rock here and there just with a bit of brown and a bit of black like that, just in areas like here. They're not really in the reference photo, but you'll find that this makes it look more interesting in parts. There we have it just a bit more of that tree there trying to join it onto the ground better. It's touch and go and sparingly adding in details. And you notice here as well there's other branches that go, grow up near the water and then they just disappear. This is another opportunity, I guess you could say, to put in some darker spots in there as well, near the water, sharper bits of grass and details. Where is the fan brush? Let me grab that fan brush. Just over here, brush again. I want more texture. A little bit more grass, tufts of grass or like just upward showing through here. That I will actually add in potentially a touch of guash afterwards as well. See if it's time if I can scratch out, there we go, we can scratch out some highlights here. Now see little tufts of grass and little bits and pieces, even the edges of this trees and things like that, we can scratch out like that quite easily. Some parts are already dried, so you're okay. You can't really do much. But here for example, see there's little leaves and stuff on the ground. You can paint them in and guash later. And you can also do this, I just do both. This makes the scene look a lot more interesting, creates extra contrasts. It's easy to overdo it though, so be mindful, okay? And that's what happens when you do it too early. You get these parts that run through the painting. You do it later, like I'm doing now. You manage to scratch off a bit of that paint and it looks better. More like high lights and things you remember with grass as well. I always keep forgetting. But it does grow in these different angles. When you scratch, scratch off in some slightly different angles at times so that it doesn't look all completely the same. I would have liked to get some more down the bottom. I'll have to put in, yeah, I'll have to get in some gash to get in some of those other bits actually. Okay. Especially shadows and little bits of the grass running through the shadows. It makes the scene look a lot more convincing. Breaks up those shadows. A touch like this that just scratching in a bit of that. Some of this stuff going over to the left in the foreground, especially you get detail and stuff going on. If you imply it using this by scratching off, it really helps. Okay, I'm going to put in a little bit of, I'm going to put in a little bit of the color for the back. 6. Bush Landscape - Final Touches: I'm going to start putting in a little bit of the green for the trees. The background trees just pick up a bit of green and a bit of yellow and a bit of that darker green on this old brush. My aim here is just to get in a few tufts, tufts of leaves here. Just by dragging the brush through, the brush is damp. Okay. One thing I really don't want to do is get rid of that amazing sky. It's a risk that you always, when you're putting in these leaves, how I mitigate is just using a dry brush technique. I'm picking up a bit of that paint and just feathering it through in areas, but making sure that I'm leaving enough of that sky in there as well because it's so easy to get rid of it a little bit of that green is important because it indicates that there's obviously leaves on these trees. Okay. That's all you need. I don't even need anything else that I think I'm pretty okay so far. And if you've gone overboard, dab the tissue paper there and you can redeem yourself for a second. If you've gone overboard, put too much green into the sky. Okay, what have we got left here to do? We're almost done. The final touches really are just looking at some remaining high light dark bits and remaining highlights. The figures here. I want to get in the legs just quickly by a bunch of lines like this. Okay? That's just for the legs. Okay? And I make the front leg go forward. A little bit more like that. So it looks like they walking 1 ft forward and 1 ft backwards. Okay. It doesn't have to be much, just something like that. Looking like the figures are walking in that same direction into the scene. And remember the shadow as well, we've forgotten about that. But just the same shadow running in that direction to the left. This is tricky as well. I want to make it not too dark, but join it onto the figure. That same with this one and this one. Join it onto the darkness of the legs. Okay, there we have it. So that the shadows just appear more organic. Good. But we've got some darker shadows. We've got some lighter, sadder ones cast by the figures, The lighter ones cast by the trees. Like softer ones by the trees here in the background. Different combinations of shadows are so important and they create contrast. And they make a painting look more convincing. Okay, here I've just noticed there are just some dark tufts of things here on the ground. And I just want to get in some extra additional dark spots near the base of some of these grassy areas. Okay. Not to overdo it as well. I'm just being so careful because I'm known to just overdo it if I'm not careful, but oops, See, I didn't mean to do that, I didn't mean to add that larger bit of grass there, but it doesn't matter. We'll leave it in there. Okay. But some dark marks here. There could be grass, there could be, as you can see, just kind of like there could be rocks or even you just use that as like a high darker side of a rock. It's really your opportunity to get in the remaining darks in the scene. This tree here in the back as well, I always like to redo some little areas of the trunk like this to re, emphasize it, get the detail of that tree in on mainly the left side of some of these branches. And that's going to emphasize more light and make that tree appear darker. The contrast of that tree as well, I want the viewer's eye to go towards that tree a little. Some upward brush strokes like this. There's even smaller tree or something here I can just emphasize or just paint in quickly like that near the river bank there. Another just making some of this stuff up. But this helps to break up the uniformity within these regions. Like even there you can see some small trees, like branches of small trees just growing on the river bank. If you look really closely, and this is another opportunity for you to go in and break that up with a few lines here and there. These trees here in the foreground as well. Again, you can just emphasize some of the darker bits, darker twigs and stuff like that in there to Okay. But yeah, the big thing is I just want to get in some potential rocks, imaginary rocks that I put in here and then I can bring them out with guash afterwards. Not many rocks in this particular scene, but it will help to make it look more interesting, I think. Anyway, if I have them in there, the heads of the figures, I'm going to pop in a touch of red for the heads. Catch a red there, faces or the back of the heads like that. Maybe a little bit of brown for the hair or just darker color that I can actually put in a bit of highlight afterwards with gas. Okay, oops, this figure here. I just wanted to darken, darken the shirt a touch, but I've darkened it too much. This paint brushes just, I've got too much paint on it. And the reason for that is so I can really emphasize that shadow afterwards. The sorry, the highlights on top of the figure. Okay. Blend that black in bit to the rest of the body. The pants or the legs. We're almost done here. I've just, again, just picking out some smaller rocks and things at the base of the tree that, you know, over here potentially. Almost done. Let's get in some final touches of, uh, I'm just squeezing out a bit of white wash here on the edge of the scene, started to harden up inside the tube that okay. What I'd like to do is pick up usually a flat brush. I need to clean this one off because I had too much dark paint on it before. Just really make sure I clean this one off. Okay. I'm going to pick up that, uh, and I actually mix two different parts. I have like a yellowish section here, I think I'll work on that yellowish section first. A bit of yellow ochre, even a bit of Hansa yellow. Do well, a bit of hanzayellow yellow ocharodone, whatever you want to put in there to get it to be a warmer color. Really, this point here, we can start to bring in a little bit of light onto areas of the painting. Like for example here, that could be a bit of light on the rock there, something like that. Have to darken part of that rock again. But here for example here, just bring little bits of high lights back into the scene. And you've got to do it in, in such a way so that it's, you don't overdo it. Just bringing back little bits of warm highlights here and there. I just flat brush makes it look a lot more realistic on these trees. You can see these little branches and stuff like that. I can put in a bit more of that guash even on the tip. You can see here tip of this tree, there's like bits of bark that's been stripped off from the tree, just being broken off probably by a storm or something in the past. I can just back see that nice sharp detail of the yellow. A little bit of that going on there. Let's do it on this one as well. Just little bits of white or something running through can also just be like an indication of these little highlights that you get. Okay, I'll leave part of it the previous wash and I'll also just augment it with a bit of this really white but like yellowish colored. Okay. Some more on the tree like that. Just a little bit of the tree on the branches, the right hand side of the tree like this and some of the branches like that. Not to overdo it, but just enough. Just enough in there. Okay, one of the highlights for these figures. Let's put a bit of color on the. So here, the head of that figure here and the shoulder in the back of this figure here as well. Again, just brings that figure out of the scene. These two look like they could just be standing and looking at the river on the left hand side as well. All right, and we are finished. 7. House Landscape - Drawing: All right, let's get started with the drawing. The first thing that I will do is divide the scene about halfway through here, and that's where start some of these crops start popping up and just behind the house as well. Okay? Then you notice that the land starts to go downwards like this. Slope downwards a bit. Okay? But it does start off a little bit higher there. This is the most important bit, really, of this scene, the house. We can change up a few things here and there, but I do want to make sure the structure of this house is fairly accurate. This is the side of the building, it's like, it's a white building but bluish on the left hand side because it's in shadow. I'll put a dot up here and a dot here. This is to just form a little guide for this triangle. Top of the house. This triangle part there, coming down here. Okay? And in front of the house there's actually some trees and all that here as well. But I'll extend part of that house down anyway. But you can see here, it's just part of this, like a tree there in front. And there's a bit of another tree here as well. Let's take a look at the top part of this house. She got more complicated than I thought it would be, but you have got this top section here and this section here, which is like a little top part of the house. It's just I'll actually extend that down a little more. Yeah, It's pretty nice part of the house like that. And you can see the side of this tower just going up like that. It's just a rectangular shapes, I guess. A cube shape like this here, the top part is just like a dome. We'll draw a circular sort of shape first. Like this, I will make it go up to this point like that there. The rest of it I can pretty much just sort out as we go in the painting. I think that's good enough for the top part, back end of the house here that it just comes down here like that. That's just a downward slope for the rooftop. I'll extend the back end of the house a little bit more like that. We pretty much have the gist of this house. There is some windows. I'm going to simplify these windows down like this. Some simplified windows like that. There may be there is a little house behind here as well. Just the roof top of that house there and then coming downward. It's not a house, it's more of like a I guess at the back section of the house or a storage area there. Okay, good. There's some larger trees, this one here. Just mark that one out. These larger reddish looking trees and another one here. Okay. Just these larger ones that I want to mark out. There is a tree line out in the back as well. A lot of this stuff we can just get in. Okay. I'm not even going to get in the sky for this one, I'm just going to leave this little section of the sky just showing up there, but I'm not going to bother with that. 8. House Landscape - Painting: But let's go straight in with the painting. And we'll go in and just get some, going to get some bit of red and orange. And really light red and orange as well. Just up in the front like this, a reddish color. And I will mix in a little bit of burnt sienna as well, just to dull that down. Okay, In the front like this. Yeah, near the front, there's really a few mixtures of colors here. You've got red, you've got oranges. You some greens in there as well. Sometimes what helps is that if you spray part of the scene down, makes it a lot easier. But I'll cover up that house first. And then just starting a bit around the scene like this, this is going to just a lot easier. Okay? Get that to sort of the paint to spread around a little bit. Got some yellows. I'm going to drop in here just like a line of that yellow yellow ochre that a little bit of that yellow that spread in there, little bits of yellow there. There's some greens and a little bit of yellowish green back here as well. I've got a undersea green color that I can pop in just over this side, mix that in nicely. There are some little bits of greens as well in here that I can just go ahead and drop in a bit of that color like that. Okay, The important thing is just to let it mix together so that you've got some nice, nice, beautiful gradients going on in here. Bit of yellowy green up here, perhaps in there. Let's just drop in a bit of that yellowy green color right up here. I'm using probably that 50% paint, 50% water at the moment. But up the front I've diluted that color down a touch a little bit more. Okay. I'm going to just go into some of this area as well because I do find there is some golden, orange, and reddish colors here for some of these trees. And if I can get in some of this stuff, if I get in just a little bit of this stuff first, it's just going to be easier later. Okay, Just drop in a bit more. Just a bit of orange and a bit of yellow. Okay. Notice how a lot of it is just spreading in. Because I've wet the paper previously, but I did not wet around the house here. And that is, so I can get a nice, crisp edge to the house like that. Okay? I don't want it to get in the way that there is a tree or something in front of there that, but I'll just quickly indicate that. But you can see there that the great thing about these mop brushes that you can cut around everything quite easily like that, Okay? And the paper is all completely wet still on the right hand side, but over here you can see it's pretty pretty damp. Pretty dry. I go over, let's just go over here. Cut around this roof like that. You got to be so careful with this to preserve preserve that color in there. White. And that way we can get in some other highlights later on. Okay. Look at that. We've done it. There we go. That's the house and the back end like that. From now on we can just pretty much relax a bit and just go in and add in a bit of color here and there in the side. Let's put a bit more green, little bit more yellowy green in here. Maybe let's get some red. Just drop in a little bit of this red mixing in with those trees and parts back here as well, loosely basing these colors on the reference photo. But we've got mostly bits and pieces from the scene, some more greens and here as well that I want to just mix in. Not really implied too many of these, but there are set bits of green here, just weaved, woven into the yellow. It's the paper which makes it so much easier to do this and you're picking up pretty dark paint. Which it. Just blend nicely. Okay, that let's go up into the top part. I reckon I'll just use more greens up top here, darker greens here and there. Blend that in. See how we've got this darker section of the greens. And then hitting the nice orangey color does help as well. Sometimes you might get a sharp edge. For a sharp edge where you want it to, you can just lift off paint like that. Encourage it to mix around a little bit more. Let's go up to the top. Some more yellows, some more yellows up here. I always like to every especially scenes like this in yellow first. And then I'll go over the top with some other colors here in the left. Okay, So all this will start to dry off a bit, and I'm going to pick up some smaller brushes. A bit of a couple of these smaller brushes. I've got a fan brush and I've also got a little flat brush here. These are going to be great to get in some darker colors. Okay, let's mix up some greens. I've got a few different greens here, but as long as you've got one dark green, you should be fine. Okay, let's have a look that's dropping a bit of this darker green up here. There is a separation in the background and it's actually a bluish color. I'm going to pick up ultramarine as well. Drop that ultramarine there. Maybe some purple would be good too. Ultramarine purple for some of the section here that separates out the background. Drop that in. Drop that in there nicely like that. It's all just mixing nicely. Some more blues here. Feather this upwards like that here, Father that upwards there. Some light greens dropped into this section as well, up the top. Okay, more darker colors here. To again, just mark out that tree line of the darker trees and the lighter trees as well. The more bluish color in here. Okay, I'm going to start feathering a little bit of green and things in this section as well, especially near the foreground, just to build up a little bit more strength out in the front. Tiny little sharper brush strokes, as you can see here, does help as well. Gives it a bit of texture and like three dimensionality. If you leave some of the tiny brush strokes just running through like that, it's not all the same color, not all the same values as well. Some purple and blue mixed together. I'm just noticing here that there is a separation. You can see just a little separation between parts of the house and the background. I can just imply some of that using this darker color, blue and purple just mix through here and carrying that across like this to form a bit of a border. I suppose there here is well, just behind the house that can see just all those little rows that you can imply while the paper is still sort of wet as well like that. Yeah, just move that around a touch. I'm just going to start working a little bit on the house and put the left side of the house, I'm going to pick up a cooler color. So just a bit of ultramarine blue. And I'll do that down. Just mix it in with a bit of this grayish color that's left over on the palette to have a really light gray color. Just testing that outlets. See, you just want to get a little bit of that gray color on the left side of the house like that. That looks good. This will go straight into that wash like that. Same with this back end of the house, there can get in a little bit of darkness like that. Not only that, we do also have a bit of this gray cutting across the side of the house here. Let's just get this one in. See, cutting across like that. Let's see, what else can we do? We can get a bit on this side as well. Light sources coming from the top right. So this is, you're going to get more of this shadow on the left side of the building. And I do think I'm going to have to darken some of these shadows a bit more as well. But as a general indication, I think this is good. Okay. Even the rooftop underneath is actually a lot darker, but we will get that in afterwards. Everything else makes sense, may even leave a lot of it white. That right hand side as well, I think it actually looks nicer. Keep it white, keep contrasting color there. Okay, let's have a look. What else do we have to do here? Probably I would like to perhaps mop up a touch of this color. And in here, just to lighten up some sections, just tissue paper off a bit like that. Okay. Just lighten up some, some parts of this so that it doesn't look all the same. Okay. That make it look a bit more atmospheric. And also it helps to make the paper dry a little bit faster as well, because I mopped up some of them puddles. One thing I've noticed is you do see some trees, like some little branches and stuff in here that are coming through, just upwards like this. So I can just test the paper and see if it is time to do it yet. If it's going to spread, it does spread a bit too much. There can maybe just try it over this side, because I do want it to blend in. But at the same time, I don't want there to be too much. Too much spread of the color. A little bit like that. As you can see even behind this house, you see it's like a tree or something reaching up like that. This is really going to help create a bit more interest and detail, especially because there's so little going on right now in the actual painting. These small details, you need to put these in. If you don't put these in, I find that it just tends to look a little bit boring in ways the trees help to frame the houses as well. You can add them in where you feel where you'd like to have them in essentially, but just a little bit like that. Have a look here on the right hand side did test that bit out a bit before it was a bit too wet, but I can pick up some darker paint and make sure you don't put too much water onto your brush as well. If you put too much water on your brush, it's not going to those marks will not stay. Put some more branches, just some trees here and there. I'm not going to overdo it. We can also start putting in a little bit more color if you think that's necessary. Like a little bit more extra darkness and things in the background in some spots because the paper is still slightly damp. So we can feather in other colors in here and just move them around a bit to create texture in the background, but we have to be careful, we're not doing it as well. This is a bit of extra darkness up the top. Here's a bit of purple and a bit of neutral tint and blue mixed in. Sometimes if you pick up an old brush like this old mangled brush, it does help to just get in little trees and things without overdoing it because they are already the shape of the tree. If you think about it, just the brush around places, I just want to have some more contrasting parts out in the back, not just the same old bits and pieces and showing previous washes as well. Nicely rub this bit off a touch so that it blends nicer. I'll continue to add some more color into the foreground and greens just build up a touch of detail like this here. This will to make this part of the painting look a bit more interesting. Even a bit of spray like that does help to create this mottled like effect. Just some little bits of green inconsistencies, really just bits of green here. You can continue just wetting the pepper, rewetting it here and there, and continuing on a bit of lighter green that I've got just mixed up already. Drop that in, flick that around, try to create some other brush, sharper looking brush strokes as well. And here you can see it almost looks a bit grassy, it's a vineyard as you can see it. Just the slight variations in value tone really helps make it look more interesting. See some darker bits here. We do need some of these darker parts. Just feathering it around while just looking at that reference pict. See how there's like a darker line or whatever. The just copy a bit of that and see what happens. Remember this will melt in anyway into the scenes. Worry too much about getting it right. Yep. Some more green. Maybe up here as well. Some just dark bits and pieces of green. Some sharper parts as well. This now I'm going to go and just work a bit on the house. Now I haven't got in parts of the roof that need to be. I will do that just by putting in some neutral bit of brown and neutral tint and blue. Okay. It's kind of like a nice gray color, dark gray color. This is going to be darker than this shadow as well. Okay? So let's get this in. Let's just do this all at once, Okay? There, here, I want to make this pretty dark so that it looks like the shadow is the shadow of that roof section is darker than the rest of the house. Just mixing up some more paint, using the edge of the brush as well. For this, let's go down, let's do this part here, that pretty dark sort of color. Good. Now let's go over the right hand side. There is a little bit of sink, a little bit of darkness on this side of the roof like that. I think that's really all I need to do for that. But you see on the sides of the buildings there's tiny little details like, I don't know what it is, but this little frame has a bit of something. You got some windows as well, you can try to imply and I'm also doing my best to keep the light windows there. Again, little details of this part. We will just need darken this top part of the rooftop here. The touch Kate. This smaller one here as well. Funny enough, the bottom part is actually darker. Let's just get an indication of that darker part there. And the roof, top brown, actually getting a little bit of brown like that. Okay? And we've done it all at once. And let's have a quick look back at everything that looks okay. Some more darker bits here. I want to make sure that this is balanced out little bits of darker parts here in the bottom areas here. The last thing I really want to do is get in highlights, highlights. I already have a bit of guash squeezed out on the palette. The reason for this is I want to get in some softer, opaque effects running through this whole scene. I've got a bit mixed up over here. Let's mix a bit of yellow yellow into this guash, this creamy yellow color. We can just drop it in like this. Look, I can bring back some of what you call it, the grass, not the grass. These yellowy plants running across here like that, okay? This milky color stuff here, just running across like that, can also just spray it a bit. If it looks too overpowering to encourage it to move around a touch, a little bits and pieces off in the back as well. You shift some of it down. It's important to help it almost like it doesn't just start immediately, but it does permeate through the scene in ways a bit more white here, just in a bit more of that yellowish color. You can even put a bit down here as well. Bit up the top here, See where the trees are just flicking through a bit of that color while the paper was drying. I just scratched out a little bit of paint here and there, and I'm going to put in a touch of wash to bring out some quick highlights on the building. But really this is just using a credit card, a plastic bit of plastic or the edge of the blade to scratch out some of those bits and pieces. Yeah, this is just to bring out tiny little high lights that I have noticed on the house. We can just bring them out quickly like this.