Beginner Watercolor Landscapes

1. Introduction: I'm a watercolor artist and an illustrator. Watercolor painting is one of the most rewarding and approachable forms of diversity painting medium. With just a simple add some place and techniques, you can create stunning watercolor paintings. In this class, I'm going to explain you how to paint simple, yet beautiful watercolor landscape. Painting landscapes as a beginner, is normally a difficult task. You can approach landscape paintings with thought and can create magical landscape paintings on your wall without any struggle. The speciality of this classes, you are going to learn how to paint watercolor landscape paintings in a loose style. I mean, without making any pencil sketch straight away, you are going to apply colors. It's so exciting, isn't it? Projects exclusively designed for you? You will learn to paint all the elements of your landscape, like Skype, water, reflection, mountains, under many more wonderful picnics. Are you excited about the class? Let's start. 2. Supplies: You'll need 300 GSM cold press watercolor paper. Make sure that you are using a 100% cotton paper. You can use whatever brand you have with you. Here you can see the list of colors. What I use in this class. You can download this list from your project section. If you wish. You can replace some of the colors. You'll need fueled own brushes, a small size, your medium-sized, the lot size. Wash brush, your flat brush. Brush. You can use fully bird greener brush. If you don't, how filbert greener brush, you can use fan brush in the place of them. Micron pen, palette knife, or an old ATM card knife. Fueled paper that was unclean water into jars, masking tape. You can use your own choice of colors. On paper. I mean, whatever brand you have with you, you can use that brand. Alone would be these sub-lists, idea liner, brush as well. 3. Project 1 - Green Bushes: I'm following the technique for painting the sky. For that reason, I'm wetting the paper before applying the colors. You can use a wash brush or flat brush for ripping the paper by using water. Now, I'm applying Boolean blue by using your round brush. If you wish, you can use thoroughly and blue, or you can use your own choice of blue color for painting the sky. I'm painting the sky for the two portions of the paper that I'm going to paint the land for one portion of the paper. I'm going to follow the rule of nodes. If you wish, you can paint the sky for one portion of the paper and two portions of the paper for the land. I'm leaving some white space in-between the Silurian blue. I can show the presence of some weight belts here and I'm playing the fellow yellow green near the horizon because I want to show some highlight Neanderthal horizon. Also, I'm applying some green here and I am a plain burnt sienna sepia to show the presence of some land here. And then if you wish, you can use olive green in the place of sap green. Here also you can see I'm leaving some white space. The negative space is most important thing in any painting. Now, I'm applying Prussian blue near the horizon to show the presence of some bushes. I mean, some distant bushes that I'm using Prussian blue in a diluted form. The paper is still wet so that the colors, they are dispersing like Bush. I'm not playing Prussian blue as a continuous line. I'm applying the color as intermittent line. Brushing is a good choice of color for painting distant bushes. I'm using a small sized round brush for applying the color. Now I'm applying living amount of Berlin green. You can mix sap green with indigo or sap green with sepia. You can create your own color, I mean, your own dark green color. Then you can apply here on the bottom portion of the bushes to show some shadow. I'm splattering tiny droplets of water by using a liner brush to show some interesting effects. The paper is completely dry. Now, I'm using an old brush for applying some color. I mean, sap green and perylene green. See how I'm moving and I'm playing the color and showing the presence of bushes. This technique, you need to use creamy consistency of their color or milky consistency of the color. You have to split the resistance completely and pick up the color. And then you how to dab it on the dry paper so that you can create the presence of some bushes. You can see how I'm creating the foliage and bushes. Initially I'm applying some green, and then I'm going to apply perylene green. As I mentioned earlier, if you don't how Berlin green, you can make little amount of sap green with indigo, with sepia, so that you can create darker tonal value of the green. I may need to Bell in green. By using the same old brush. I'm applying the amount of CPU as well as Berlin limb or the bottom portion of the bushes to show the presence of shadow. Now, I'm painting a tiny bird. If you wish, you can play little amount of lemon yellow on the top portion of each bushes so that you can plead some highlights. 4. Project 2 - Pastel Sky: I'm whipping the paper before applying the colors. I'm going to apply Alizarin crimson. And then permanently before I'm playing said earlier in blue, you can see how I'm applying the color Alizarin crimson, and then how I'm applying permanent red. And then I'm going to apply some cerulean blue. I'm using a round brush for applying the color. I'm not applying these colors everywhere. Now, I'm applying said earlier in blue. You can use some other blue in the place of cerulean blue. How I'm applying the colors one-by-one, blending the colors with each other gently. However, I'm maintaining some whitespace in-between. The paper is still wet. The colors, they are getting fused with each other. You can see how the colors are blending with each other. For that reason, only I told to use a 100% cotton paper for painting landscapes. You can maintain the moisture level of the paper. And it will be convenient for us to apply the colors and follow the town with technique. The paper is still wet and IMAP plane tallow yellow green near horizon. Then applying sap green and bonds sienna and Serbia to show the presence of land. I keep on adding the colors until I feel satisfied and gently blending the colors with each other. However, I'm maintaining some void space. I mean negative space in-between. If you wish, you can use some other green in the place of submarine and tallow, yellow green for your convenience, I'm using these colors. If you use tallow yellow, green, it will be giving some highlights near the horizon. You can use some lemon yellow also in the place of tallow, yellow, green. Not like the previous project here. I'm using sap green for painting the bushes. And then I'm going to apply Berlin, Berlin at the bottom portion of the bushes. For the dome portion of the bushes, I'm applying some green. And then for the bottom portion of the bushes, I'm playing Berlin green. You can see here. So I'm painting and Bush. I painted distance whooshes in smallest size. That is, I'm painting the bush, which is near to us in a Lord deal size so that it can learn the composition of painting bushes. The object Mathias near to us that looks larger, that is the same size object. If it presents near the horizon, are far away from us, they look smaller. You can see the difference here. As I mentioned in the project one. Here also, I'm using an old brush and painting the foliage of the bushes. I picked up some sap green and I'm dabbing the color gently on the paper. I'm creating the foliage for the bushes. Make sure you are splitting the Bristol is completely on picking up the color and then dabbing the color on the dry paper so that you can create the texture, the effect of the foliage. At some places, I'm using the mix of sap green and burnt sienna. If you wish, you can make some amount of sap green with Alizarin crimson and you can use it on the top portion of the bushes. I keep on adding the colors until I feel satisfied. Now I'm applying the mix of sap green and burnt sienna, or the bottom portion of each bush so that I can show the presence of shadow. Now I'm using filbert Greiner for painting the grass. If you've known how filbert brainer, no worries. You can use fan brush in the place of filbert data, or you can use an old brush. The split restaurants for painting the grass. At some places I'm using sap green for painting the grass. Whereas at some places I'm using the mix of sap, green and burnt sienna for painting the grass. You can see how I'm moving my brush and painting the grass. I keep on changing the size of the grass here. And then if you wish, you can use a liner brush also for painting the grass. But it'll be a time-consuming process. Now I'm showing you how to use the liner brush and painting a grass. If you wish to paint some long grass. Liner brush is a good option. I loaded my liner brush in the mix of sap, green and burnt sienna. I'm painting some long grass. I'm not painting long grass, everyone. I'm painting longus here. And then if you wish, you can use permanent orange, also in the place of alizarin. Crimson. And permanent red makes good. 5. Project 3 - Standing Tree: I'm letting the surface before adding the colors. By using a round brush, I'm applying permanent orange. And then I'm going to replace the Boolean blue. I'm not blaming the permanent orange every bar. Now I'm a blink steadily and blue and gently blending the colors with each other. Orange and blue, they are complimentary colors. By blending these colors, you can get some gray colors. You can see the visible effect by mixing ultramarine blue with the permanent orange. I'm leaving some white space in between the colors so that I can show the presence of some OID clouds. The paper is still wet and I keep on adding the colors and gently blending them with each other to the wet paper. I'm applying sap green now. After applying sap green, I'm going to add Berlin green and then burnt sienna and then sepia to show the presence of some land. However, I'm maintaining the negative space in between the colors. You can see how I'm moving my brush when I'm painting the sky, and how I'm moving my brush in a different way when I paint the land, you can follow the same technique. Painting sky and the land. I'm dropping some thick consistency of sepia here and that to create some interesting effects. After applying the colors, let the paper dry, and then you can proceed. The paper is completely dry now, by using a liner brush and burnt sienna. I'm painting the trunk Fourier three. You can see how I'm moving the liner brush and creating some zigzag branches. You can follow the same technique when you are painting entry. If you're not confident about creating zigzag lines, to create these lines in a separate paper. And then tried to paint in your main paper. I'm using burnt sienna on sepia as Earth colors, mostly in all projects. If you wish, you can use some other bones. Also. See how I'm moving my brush and creating the zigzag lines. I'm painting a normal tree here. If you wish, you can add some more trees also. You can paint some other trees, like coconut trees or boundaries, or banana trees, or even pine trees. It's purely your choice. And painting the trees. After painting the trunk and branches. And then I'm using an old brush and picking up some sap green in creamy consistency and then dabbing the color on the dry paper so that I can able to create the Coolidge effect. You can see I'm not hiding the brand is everyone. I'm just trying to create foliage in a random way. If you have your reference image of a dream, you can try to recreate it as it is. You can try to do this tree when you are painting your project. A plane suddenly. Now I'm applying Berlin green. As I mentioned you earlier, if you known how Berlin green mix some green with indigo and burnt umber or CPO, orient that darker color so that it can get perylene green or any dark green color. You can use it in the place of Berlin green. Now, I'm using the mix of vomiting. Orange, sap green, I mean, lithium, amount of sampling and more amount of permanent orange. And then I'm dabbing the color on top portion of the foliage so that I can create connectivity between the sky and the tree. Now, I'm using a filbert greener brush and painting some grass at the bottom portion of the tree. If you don't have filbert brush, you can use Van brush or you can use an old brush with the split Bristol, and then you can paint the grass. For painting the grass, I'm using the mix of burnt sienna and orange. Some places I'm using sepia at some places. You can see how quickly I'm creating the graph by using the filbert greener brush. It's possible even when you are using a fan brush. Even you can use a liner brush and paint some long dresses if you wish. You can leave as it is. Slate. I tilted my filbert planar and then adding some foliage on the grass. Even you can use a smaller round brush. You can add tiny foliage on the grass. 6. Project 4 - Flying Birds And Sea: In this project, we are going to paint a simple seascape. I'm wetting the paper before adding the colors as we have done earlier. Now, I'm playing Alizarin crimson and then permanent Dre. And then I'm going to play certainly in blue as we have done in the previous project. See how I'm moving my brush and blend the colors. You can follow the same technique when you are playing the colors for this guy. The paper retains its moisture. It's convenient for us to apply the colors and gently moving and blending with each other. Don't hesitate to try new colors to paint the sky. I mean, you can use any PowerPoint or orange or some other colors, are some other blue you can use for painting the sky. It's not necessary that you have to use the same set of colors. When you are painting your project. The paper is still wet and I keep on adding the colors one-by-one and gently blending the colors with each other. Now I'm playing golf ball green, and then I'm going to apply fallow turquoise and then indigo. I said darker tonal value for painting the sea. You can see how I'm moving my brush. I'm creating the strokes for the waves. You can follow the same technique when you're painting. You can see I'm also adding some amount of Alizarin crimson in the sea so that I can create the connectivity between the sea and the sky. I always follow wet-on-wet technique when I'm painting a sky, I tried to keep my pad flat. When I'm painting are times I tried to elevate slightly my drawing pad. Mostly my drawing pad that reminds flat when I'm painting. I'm applying indigo as the darker tonal value here. If you wish, It can use indigo. You can use some other darker tonal value of the blue color for painting the sky. It's not necessarily that you have to use the same set of colors for painting the z. You can change the colors also. The background is completely dry now. And then I'm painting some birds by using burnt umber. You can use Scipio RLC, you can use black also for painting some birds. This is a very simple project. I mean, very simple seascape. For your understanding, I have done here. If you wish, you can add few birds are more buds. 7. Project 5 - Beach And Fence: In this project, we are going to paint. One was seascape. I'm applying some amount of lavender or you can use purple. So I'm going to add little amount of alizarin crimson and said only in blue. If you wish, you can use some other blue also. In the place of certainly in blue. The colors one-by-one and gently blending the colors with each other. The paper is wet so that the colors are blending with each other very smoothly. You can see that now how I'm applying the colors and how they are moving gently with each other and blending together. Mostly, I follow wet-on-wet technique for painting the sky and apply the colors in the similar way. I allow this time. If you wish to follow with Andre. I mean, we thought within paper, gently applying the colors and blending the colors with each other. You can follow that technique also. For painting the sea, I'm using tallow turquoise, Prussian blue, and little amount of cerulean blue. You can see how I'm applying the colors one-by-one and blending them with each other. I'm using a small size round brush here for applying the colors for this scene. Because I'm going to add some land also near to the sea. For the land, I'm going to use burnt sienna and then say beyond, that paper is still wet and I'm applying the colors one-by-one. Initially I applied burnt sienna and then I'm applying sepia here and there. You can see I'm leaving some space in between the land and the sea. Title maintain that distance between the C and the land so that it can create some highlights. When you are painting. Let it dry completely so that you can proceed for the paper is completely dry now and I'm using EFL but brainer for painting the grass. As I mentioned to you earlier, you can use fan brush also. I'm creating some grass by using the mix of permanent red with CPR. Then I'm going to use the mix of sepia and indigo as darker tonal value. I'm going to paint the bottom portion of the graph. If you wish, you can use a liner brush and try to create some lawn grasses. It's purely your choice and you are creativity. You can see I'm not painting the grass everywhere. I'm leaving some space. By using the mix of sepia and indigo. I'm painting a fence here in the land. If you wish, you can add a pine tree, or if you wish, you can add some other details. Also. It's possible to add mode also here. For painting your board, make an outline by using a pencil and then tried to paint it when you are playing other colors to get off the boat. I mean, take it off the board so that it can unwind other colors. The entering into the board. The board at the final stage. 8. Project 6 - Pine Tree Hills: In this project, we are going to paint here and some pine trees. For painting the sky. I'm using permanent orange and steadily and blue. I'm applying the permanent orange initially. And then I'm applying settled in blue. The paper is still wet and I keep on adding the colors and gently blending the colors with each other. However, I'm maintaining some whitespace in-between to show the presence of oil clouds. I'm using a round brush for applying the colors. If you wish, you can use a flat brush also for applying the colors for the sky. It will create some different pattern when you are applying the colors by using a flat brush. After applying the colors for this guy, this guy to dry completely and then start to do for the process. The paper's dry completely. Mixed off suddenly in blue and ultramarine blue. I'm trying to create some mundane. I'm using a round brush to create a mountain. If you wish, you can use a flat brush also on an angular brush also. This is a distant mountain. So I'm using these colors. If you wish, you can use some other cool colors. Also. Dry the paper once again and then apply the purple and sepia mix. See how I'm moving my brush and applying the color. I'm not hiding the previous range of mountane. I'm partially covering the mountain and then creating a determined by using the mix of purple and say PM. You have to dry the paper in each and every step. Before proceeding further. I suggest you to use small round brush or small flat brush for painting the more paints so that you can have more control on your painting. Now, I'm painting another mountain by using perylene green sepia. You can see I'm not hiding the previous mountains. I mean, I'm not hiding the previous mountains in daily habit. I'm hiding the previous mountains, but shinny. And then painting this mounting. After painting this small thin dry the paper completely and then proceed. The paper is completely dry now. Now I'm going to paint some pine trees for them. I'm using sepia and then liner brush and painting the tree trunks. You can see I'm making some straight lines as Cleveland's. I'm not going to add more trees. I'm going to add one leaf you please. I'm using the same liner brush for painting the foliage. I loaded my brush by using sepia and then I'm moving my brush in a zigzag manner and creating the foliage. You can see how I'm moving my brush and creating the foliage on the pine tree. You can follow the same technique when you are painting foliage for the pine tree. This is a simple way of creating pine tree. You can use sap green, you can use some other lean. I mean, especially you can use Prussian blue also along with sap green, so that you can create some different textures and some different tonal values in your pine tree. I'm using indigo as the darker tonal value for painting the foliage on the pine tree. Slowly and gradually. I might think foliage for the pine trees. If you wish, you can use same set of colors for painting them on dates. You can use your own choice of colors for painting the mountains. 9. Project 7 - Grass Reflections: I'm going to use steadily and blue, purple analysis, crimson for painting the sky. I'm going to add the colors one-by-one. Now I'm applying for I'm going to add a little bit of alizarin, crimson, cerulean blue. You can see how I'm applying the colors one-by-one and gently blending the colors with each other. As I mentioned you earlier, it can follow wet-on-wet technique. And then you can apply the colors one-by-one. It can follow wet-on-dry technique, known only to wet the paper beforehand. Straightaway, you can start to apply the colors. Here. I'm leaving some white space in-between the colors so that I can show the presence of some weight clouds. The paper is completely dry now, I'm going to use a flat brush and then I'm applying the colors one-by-one. You can see how I'm applying the sampling. Know how I'm moving my brush. I'm adding purple now. One-by-one, I'm adding the colors slowly and gradually. I'm adding the colors and blending the colors. At some places, not every bar. You can follow the same technique when you are applying the colors. Now I'm applying burnt sienna, and then I'm going to add little bit of sepia and the bottom portion. See how I'm applying the color. However, I'm not hiding the previous colors. The colors are fused with each other at some places only. Now, at all the places. I'm falling bit on dry technique. Now, I'm applying the colors on the dry paper. Now I'm using a palette knife. I'm trying to extend the colors. The colors are still wet and I'm trying to extend the colors as in the form of grass. This is slightly different technique. I wish to teach you. See how I'm moving my palette knife and trying to extend the vague colors as in the form of grass. In this way also, you can create grass. I'm skipping some colors at the bottom portion. So then I can create some interesting texture. See I'm not scrapping the color everywhere and doing it at certain places only. Once again, I'm wetting the bottom portion of the paper. Before adding the colors. I might have said Ali and blue and then fallow turquoise, little bit of cobalt green for the water. Plane one Sienna and then sepia for the presence of some sand. See how I'm applying the color one-by-one and gently blending the colors. Unmapped CPR or the bottom portion of the lucky surface. I'm leaving some negative space in between the water and the sand. Mining, some darker colors, I mean sepia and indigo. The bottom portion of the rocky selfies. By using a liner brush, I'm dropping tiny droplets of water in the sand so that I can create some interesting texture on the sun. The paper is completely dry now I'm using it failed, but brainer on painting some more glass. On the rocky surface. You can see I'm not hiding the previous picture of glass. However, I'm overlapping sunglasses. I'm going to use same set of colors. I mean, bond, CNR sepia and perylene green. For painting the reflection of the grass in the water. I'm using the same font but greener and trying to create the reflection of the grass in the water. I'm trying to smudge the colors at some places. The reflection will be perfect. Now I'm using a flat brush, I'm using sepia. I'm creating some textured effect in the sand, as well as in the reflection. 10. Project 8 - Group Of Trees: I'm going to elevate my drawing pad slightly. By keeping your small-sized stone under that. I'm going to wet the paper before applying the colors. I'm going to use Alizarin crimson, ultramarine blue makes permanent orange. And then suddenly in blue for painting the sky. I'm going to do even wash. Now, I'm going to use round brush for applying the colors. I am played. The mix of Alizarin crimson and ultramarine blue. Applied permanent orange. Now I'm playing certainly in blue. The drawing pad is slightly elevated, so the colors can blend with each other without any difficulty. You can see how I'm moving my brush and gently blending the colors with each other. You can follow the same technique when you are applying the colors. In this way. After applying the colors, allow the paper to dry completely and then proceed for them. Now, I'm applying sap green and then I'm going to add burnt sienna. And then sapiens at some places, I'm using the round brush for applying the colors. I'm randomly applying the colors and blending the colors meet each other. The paper is still wet and I'm trying to scrape some colors by using a palette knife. You can see how I'm moving the palette knife and trying to scrape the colors at some places. Do this scraping technique carefully, otherwise, you will damage the paper. I'm using a liner brush for painting the tree trunk. I'm using burnt sienna for painting the tree trunk. And then I'm using sap green and Prussian blue for painting the pine tree foliage. In the previous project, we used the same liner brush for painting the foliage. Here, I'm using filbert greener brush. If you wish. You can use filbert grader. You can use the liner brush or you can use fan brush also for painting the foliage. You can see how I'm moving my brush and creating the foliage. You can follow the same technique when you're painting the foliage for the pine trees. Even you can paint the pine trees in a separate paper. I mean, you can practice in a separate paper and then you can come to your main painting. I tried to suggest you to follow all the techniques. I'm into practice, all the techniques of painting pine trees. And then pick one whichever suits you. By using an old brush, I'm trying to create some small bushes here and that by using perylene, green, sap, green, Prussian blue, and burnt sienna mixed. I'm painting the bushes in a random manner. And then I'm adding shadow to each and every object. 11. Project 9 - A Village Scene: In this lesson, we are going to paint a simple village scene for painting that I'm wetting the paper before adding the colors. For painting the sky, I'm going to use one necessarily and blue. I'm using a round brush for up link the colors. You can see how I'm moving my brush and applying the color. I'm leaving some white space here. And then to show the presence of some clouds. Hi, I'm using only one color here. If you wish, you can use some other colors also. You can use some different blue color for painting the sky. The paper is still wet and I keep on adding the color. The paper is still wet, undemanding colors. Now I'm applying sap green, and then I'm going to apply burnt sienna and then Scipio. You can see how I'm moving my brush and applying the colors one-by-one and dentin blending with each other. You can follow the same technique and you're applying colors for the sand by using creamy consistency on sepia, I'm trying to create some textures in the land. The paper is completely dry now by using the liner brush. I'm painting yet lamppost. Now amount of color because reach up is too dark. I'm using sepia for painting the lamppost and other details. I'm painting layers. If you wish, you can use liner brush or you can use Micron pen like this. And you can paint on, you can draw wire. If you are not confident enough to paint. With long straight, you can use Micron pen. I'm adding tiny details on the wire by using Micron pen. And then I'm going to use Philpot greener for painting some bushes near the lamppost and in the land also for painting the grass, I'm using perylene green at some places and burnt sienna CPO at some other places. I mean, burnt sienna and sepia at the bottom portion of the bushes. As I mentioned you earlier, you can use a fine brush for painting the grass. You can use an old brush with a split crystals. Otherwise, you can use a liner brush for painting the grass. Even you can use the mix of burnt umber and purple for painting the grass. By using a filbert Brener. I'm applying sepia at the bottom portion of the grass in the form of pictures to show the presence of the shadow. I'm doing this. I'm using a knife and then trying to scratch the paper on creating some textured effect. When you're doing this step, be careful, but you should not damage the paper. Also, don't try to overdo this tape. 12. Project 10 - Tide And Trees: I'm wetting the paper before adding the colors. I'm using permanent orange and steadily in blue for painting the sky. Also at some places I'm going to add indigo. Now. I'm applying permanent orange, and then I'm going to replace cerulean, blue and indigo. You can see how I'm moving my brush and applying the colors. You can follow the same technique when you are applying the colors. I'm gently blending the colors with each other. The paper is still wet and I keep on adding the colors and gently blending them it each other. Now I'm applying indigo, little bit of indigo, and then blending the color with the previous colors. After painting the sky, I'm going to paint the sea. For painting the C, I'm going to use tallow turquoise, blue, indigo. I'm using fallow turquoise suddenly in blue, and indigo for painting the Z. I'm adding the colors one-by-one and gently blending the colors with each other. For painting the sun, I'm going to use burnt sienna and sepia. You can see how I'm moving my brush and gently adding the colors and blending them with each other. I'm using burnt sienna and CPL for painting this and see how I'm applying the colors and gently blending the soil color. We see. Also, I'm trying to create some texture effect by using sepia. I'm playing the colors. I love the paper to dry completely. And then proceed. I'm going to add a few pine trees in the sand. I'm painting the tree trunk by using sepia. I'm using a liner brush here for painting the main trunk and branches. And then I'm going to add the foliage for the pine trees. I'm using sepia here. He had on, so I'm using filbert dinner for painting the foliage. If you wish, you can use filbert greener, others, you can use an old brush, also, RLC, you can use a fan brush, round brush for painting the foliage for the pine trees. I'm using sap green and perylene green for painting the pine tree foliage. Also, I'm going to paint some grasses under the trees as well as in the sand. Painting the brush. I'm going to use burnt sienna. Let's sepia. Thank you for watching my class. I hope you enjoyed painting along with me. Let me know your views about the class in your project section. Also, don't forget to share your class projects with me. Happy painting.