Capturing Nature's Calm: Watercolor Techniques for Painting Misty Mountain Landscapes | Altea Alessandroni | Skillshare

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Capturing Nature's Calm: Watercolor Techniques for Painting Misty Mountain Landscapes

teacher avatar Altea Alessandroni, Artist and Designer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Class Overview


    • 3.

      Materials and Tools


    • 4.

      Color Palette


    • 5.

      Painting Mountains


    • 6.

      Painting Pine Trees and Bird Silhouettes


    • 7.

      Painting Mist


    • 8.

      Composition: Rule of Thirds


    • 9.

      Final Project: Part #1


    • 10.

      Final Project: Part #2


    • 11.

      Tip to Flatten Watercolor Paper


    • 12.

      Thank You


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About This Class

In this course we will explore watercolor landscapes. We're going to delve into the art of painting misty mountain scenes, exploring the peaceful beauty of nature through our brushes and paints.

The natural world has always been a constant in my works, it can be an endless source of inspiration, and that's exactly where our journey begins. By observing beautiful nature photographs, we will learn to simplify complex subjects into minimalist, yet expressive, watercolor paintings.

In our project, we'll embrace simplicity, using just two colors to bring our misty mountain landscapes to life. This approach simplifies the painting process, making it both enjoyable and easy to follow.
The lessons will cover everything you need to now for creating a misty mountain landscape from sketching and painting to creating the mist effect and mastering composition.

In this course you’ll learn how to:

  • utilize basic watercolor painting techniques
  • create a limited color palette
  • sketching and painting mountains, pine trees and birds
  • utilize the rule of thirds to arrange the subjects of your painitng in a balanced way

Who’s this class for?

This class is for students of any level! Whether you're taking your first steps into watercolor landscapes or looking to refine your skills, this class is the perfect starting point. I've carefully crafted each lesson to be straightforward and accessible, packed with helpful tips and essential information to kickstart your journey.

Materials you'll need:

  • watercolor paper 
  • watercolor paints
  • watercolor brushes
  • a palette
  • paper towels
  • one or two jars of water
  • masking tape
  • a spray bottle
  • a pencil and an eraser

Meet Your Teacher

Teacher Profile Image

Altea Alessandroni

Artist and Designer

Top Teacher

Through my art journey, I picked up several skills and my curiosity always leads me to explore new ways of expressing myself in a creative way.
I love using traditional media as well as drawing on my Ipad, and I'm excited to share everything I learn here on Skillshare!

My work is inspired by nature and the natural elements as well as experiences such as visiting new places, hiking and meeting like-minded people.
I've always been quiet and pretty introverted and like to see my art as a way of communicating my feelings and my appreciation for the little things in life.

You can see more of my work on my Etsy shop - where I sell collections of graphics and illustrations, and on Canva where you can download various kinds of templates I design.

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1. Introduction: Imagine painting landscapes that transform you to a world of quiet beauty and misty mountains where every color tells a story. And every brush Tro creates an atmosphere of tranquility. Hi everyone, My name is Tea. I'm an artist, graphic designer, and online educator base in Italy. Today I'm excited to invite you on a journey through watercolors where we'll learn how to paint a misty mountain landscape using a limited color palette. The natural word has always been a constant in my works. It can be an endless source of inspiration. And that's exactly where our journey begins. By observing beautiful nature photographs, we'll learn how to simplify complex subjects into minimalist yet expressive watercolor paintings. Together we'll practice sketching and painting each subject that will be part of our final composition. From loose montas to intricate pine trees and delicate birds silhouettes. One of the highlights of this course is to learn how to create a captivating mist effect. A technique that can add a sense of calm, depth, and atmosphere in our landscapes. We'll also focus on creating a well balanced composition, ensuring our painting is visually engaging and harmonious. While a basic understanding of watercolors might come in handy. This class is designed for students of all levels. I've structured each lesson to be clear and comprehensive, and I'm here to guide and support you throughout the course. By the end of the course, you will have gained confidence in your skills and you will have created a watercolor landscape that evokes calm tranquility and that reflects your unique artistic vision. So let's not wait, and let's explore the world of watercolor landscapes together. 2. Class Overview: I'm so excited to have you join me for this journey into the world of watercolor landscapes. Welcome to class. Before we begin, I'd like to talk a little bit about the class project and how I structure this course. We'll start by going through the materials and tools essential for watercolor painting. Then we'll gather inspiration and begin sketching for me, the foundation of our landscape. Creating a color palette is key, it simplifies choices, and it ensures consistency throughout our painting. I'll show you how to mix colors, giving you a limited yet versatile color palette. To begin with, we'll then move on to painting loose mountains in an easy and expressive style, followed by painting pine trees and bird silhouettes. Next, we'll learn how to create the mist effect and how to distribute the different subjects of our painting in a balanced way, using the rule of thirds. For our final project, we'll bring all these elements together to paint a complete landscape. Throughout this course, I will address common questions and challenges, sharing my best tips to elevate your watercolor painting skills. If you have any doubts or need guidance, feel free to post your questions by using the discussion time. Remember, I'm here to provide guidance, answer your questions, and of course, celebrate your artistic journey. Your participation and creativity are what make this course truly special. As you progress through the course, I encourage you to share your work, whether it's the initial sketch, the color palettes, or the final painting. As we embark on our watercolor journey, I have a little suggestion that will help you get the most out of this course. Given that parts of the video are edited for the length and some processes are sped up to keep the class engaging and concise, I recommend taking a quick look through the entire course way. You'll get an overview of each step you're going to take and understand the journey will be on together. Once you have a sense of the overall process, you can watch the class at your own pace, following along with me. Feel free to pause the video whenever you need more time to work on a particular step or technique. I think that this approach allows you to learn in a way that suits your individual style, ensuring you can absorb and apply everything we're going to learn. Remember, there is no rush. I think that the beauty of the course is that you can take the time to enjoy each step of the painting process. Last but not least, you can find all the class resources under the projects and resources stuff. Now let's get ready and explore all the materials we'll need for the class. 3. Materials and Tools: Before we dive into the process of painting, let's ensure we have the right tools and materials. Let's start with paper. For the final project, I exclusively recommend using 100% cotton paper. Why is this so crucial? Well, my early struggles with watercolor were often related to poor quality paper. The wrong paper can lead to harsh lines and quick drying. Hindering the wet on wet technique that we'll be exploring while experimenting or practicing painting mountains and pine trees. A student grade paper might be enough for the final project. I exclusively recommend working on 100% cotton paper. When painting, our misty landscape will be layering and using a good amount of water. And this paper will make working with watercolors more manageable. Additionally, it offers durability and excellent water and pigment retention, ensuring your paint spreads smoothly. Here is why you should consider when selecting your watercolor paper weight, which is expressed in grams. A higher number of grams indicates thicker and more durable paper. I'll be using 300 GSM paper for our project texture. You can choose between rough hot press and cold pressed. Cold press strikes the perfect balance, providing enough texture for captivating pigments while allowing for smooth brush work. For our final project, I'll use this arches paper, which is 100% cotton cold press. Now let's dive into the heart of our artwork, the watercolor paints. I'll be using Winsor and Newton's watercolor paints in tubes. Professional paints usually have more vivid colors and higher concentration of pigments. However, feel free to also use student grade paints like the Man series, which gives you many colors to choose from. And the price is just right for what you get. Regarding brushes, I'll be using the Pol Rubens number six mop brush. The broad shape of this brush allows for covering larger areas with paint in a single stroke. In addition, mop brushes are excellent for creating loose and flowing strokes. Also, I will keep at hand a round, medium size brush for thin lines and details. I'll be using these two brushes from Princeton, the Aquil series number 2.4 These round brushes with fine tapes will help us paint pine trees and other details. You'll also need a palette for mixing colors, masking tape to fix the paper, a spray bottle to keep the paper wet, and two jars of water. When painting, it's essential to rinse the brushes in clean water to avoid mudding the colors. Lastly, we'll do some sketching. So feel free to use a pencil and a sheet of paper or a digital tool. Now that we have gathered our materials, we're ready to start painting. 4. Color Palette: In this class, we'll focus on creating a limited color palette, specifically tailored for our watercolor painting. Choosing the right colors is not just about the beauty of individual hues, but it's about the harmony they create together and the motions they evoke. In those of you are artwork. Colors can transform a simple scene into an evocative landscape that captures intrigue, calm, and mystery. For our misty mountain landscape, I've picked Perlin green sepia and paint spray as our founditional colors. If you don't have these exact hues, don't worry. Feel free to use similar colors if you have an end, or any hues that resonates with the mood that you want to convey in your painting. Let's see how each color looks on paper. I'm starting with a thick amount of pigment, then I gradually rinse the brush so there's more water on the bristles and less pigment. I just continue painting, creating a soft gradient. If you have too much water on your brush, don't forget to dub it on the paper towel. Now I'm repeating this step with sepia color. Now let's mix these two colors. By mixing pearl and green and sia, we get a rich natural shade perfect for our trees. It's important to experiment with different mixes to find what resonates with your vision. For instance, mixing sepia with Hookers green dark gives us a warmer green, offering an alternative for those who prefer it. Also alternatives like Vandyke brown or burnt umber mixed with another green can yield beautiful results. All right, next we'll lay down paints gray. I will use this color for painting the mountains. This is the color palette that I will use for the final painting. As you can see, it's only two main colors, a green for the pine trees and a muted blue for the mountains. Using a limited color palette offers several advantages. It simplifies choices. It ensures consistency throughout our painting. And it's definitely easier to maintain harmony and allows us to focus on other important aspects like composition and the subjects in our painting. A few days ago, I experimented a little more with coming up with a color palette for the class project. And I scanned this paper, so you can refer to it if you need more options, especially regarding the green colors. Here, I combine the green colors I have on my paint set from Windsor and Newton, and I also tested out a few more options with the blues and the grays. Now I encourage you to try mixing these colors on your own. Experimenting is key to discover new and exciting color combinations that can elevate your painting. Remember, the goal is to create a palette that reflects the essence of your landscape. A color palette that resonates with you and with the atmosphere that you would like to convey. All right, we're ready to start painting. Mountains. I'll see you in the next lesson. 5. Painting Mountains: In this lesson, we're going to learn how to paint mountains. By starting with the observation of detailed photos, we will learn to translate the complexity of these landscapes into our watercolor paintings. To do this, I've collected some photographs and I have created a board on pexels. You can find the link to this board under the projects and resources. As you can see, we have some photos of mountains, pine trees, and birds. These images will guide us, helping to capture the essence of each subject that will be part of our final painting. We're going to start with mountains, and to better understand how to paint them, we're going to start with a sketch First, let's begin by closely observing our photographs. Notice the contours, the way light plays on the surfaces, and the various shades that give mountains their depth and character. Mountain photos can be quite complex in detail, but think of them as a whisper of inspiration, a starting point. This is how I like to approach something new. I will keep the ipad next to me and from time to time, I will observe the photo to help myself trace the outline of the mountain. Remember, our goal here isn't to replicate every detail, but to understand the mountains outline and where the shadows and highlights fall. All right, I start from the bottom and trace a small mountain, then I keep going up to make a bigger one. As I draw the outline, I make my pencil move a little to show the rough edges of a mountain. Then from the top I draw a line coming down. This line is the ridge. It helps the mountain look more real by showing where the sides are. Now we are going to add depth to our subject by placing shadows and highlights. Imagine the light is coming from the right side. The left side will be darker and the right side will be lighter starting from the peak. Let's do some shading. I'm not covering the whole site, but I'm leaving some white spots for the right side. Let's keep the shading very light. I'm picking a charcoal pencil to accentuate even more the shadows. You can think of this step as the last layer of paint. We start with light colors and then add the darker ones. We don't need to make a detailed sketch before painting. That was just to help us understand the different layers of colors, where to put the dark ones, and where to leave the light spots. Now let's make a simpler version of this sketch to use as a guide for our painting. Here, I changed the ridge a little bit and now I'm adding a few lines to mark the dark side. I'm picking paints gray, and I'm starting by dropping the color on the top part of the first peak. With a clean brush, I soften the edges of the dark strokes. The spreads the color, creating a soft gradient. I keep repeating this step to have more dark areas on the right side. I keep the color very diluted and I make sure to keep the base of the mountain light as well. Here is where the fog will lay. Let's repeat the same technique for the bigger peak. Oh, I'm using the color very dark right now and I'm doing a little bit of dry brushing. Dexter, now, I'm switching to a clean brush, I'm dumping it and I'm going back in to create a soft and finish this side of the mountain. I keep wetting the brush to spread out the water that I have on the paper. Then I go begin with a dark hue and I keep the color even darker, close to the rich, before adding lighter paint on the other side. I just couldn't resist adding one last layer of dark paint here. I'm taking a small amount of thick paint and I go over the areas I want to darken. It's important here not to overdo this step. If you create a sharp line, you can soften it by going over the edge with a clean dump brush like I'm doing here. All right, let's finish the right side by adding a light layer of paint. I'm finishing up with a darker layer for the final touches. Oh, the mountain is looking good. With enough texture, detail, and contrast, I will stop here. If this is your first time painting mountains, it might take a little bit of practice to feel confident with this technique. It's all about practicing. I recommend painting this subject multiple times until you're comfortable, I will paint another mountain. Now just for a bit more practice. However, if you're feeling confident, you can move on to the next lesson where we'll explore how to paint pine trees and bird silhouettes. Okay, just like the first mountain we painted, I start with a quick sketch. This time I'm using pins gray again and begin with some dry brushing. I move the brush from the bottom to the top to create texture. Then with a clean damp brush, I go over the dark brush trucks to soften their edges. It's important to work quickly here because the paint dries pretty fast and we want to blend the edges before that happens. Next, I add more water to let the color flow down toward the bottom of the mountain. It's key to remember to leave some areas wide and keep the bottom part of the mountains lighter. The contrast between the white spaces and the dark parts help at depth and makes the mountain look more three dimensional. There are many ways to paint mountains and I found that a good balance between painting loosely and adding a few details works best for me. I also like to let the reference photos inspire me at the start. But when it comes to painting or drawing, I prefer to rely on my imagination without sticking too closely to a plan. Okay, our aim with the side of the mountain is to build up layers to create contrast. Once you're satisfied with how it looks, you can then begin working on the other side. I will speed up the video here to keep our class concise. But feel free to pause the lesson and work at your own pace whenever you need to. Taking your time is important. And I encourage you to experiment and find your own style within these techniques. All right, I'm back and I'm adding the final touches here. I make sure the outline of the mountains are visible. I also adjust the ridge where needed and refine the dark spots by adding more paint. I really hope this lesson was helpful and I can wait to see your work. In the next lesson, we're going to practice sketching and painting pine trees and birds. I'll see you there. 6. Painting Pine Trees and Bird Silhouettes: Before dive into painting the pine trees, let's start with a quick pencil sketch on the Paxil S board. You can find a couple of references. For example, let's take this one, take a look at the pine trees in this image. Notice their general shape, how they stand tall and narrow with branches that grow wider as they go down. Another feature that is typical of this tree is the way branches reach slightly upward. We'll start our sketch with the trunk. Draw a straight vertical line to represent the tree score. Now, at the very top, begin with tiny light strokes for the smallest branches. As you make your way down the trunk, let these branches grow in size, forming a shape that's white at the bottom, much like a triangle. Ensure that the branches curve upwards, just like in our reference. As you sketch, remember that the reference image is here to guide you and not to limit you. Pine trees, as with any natural form can be interpreted in a multitude of ways. Let your hand be free and your strokes confident. There we have our pine tree sketch. That's all we need to start painting with confidence. Now with paint and brush, we're going to repeat the same steps. The brush I've chosen is a small round Princeton brush number two. It's great for this task because it has a fine tip that lets us paint small details regarding color. I'm using a mix of P, green and sepia. All right, let's start with the trunk. I draw a thin line for the trunk. And don't worry, it doesn't have to be perfectly straight. Imperfections are the character starting from the top. I use the very tip of the brush to dub in those tiny branches. And as you move down, gradually press harder to widen them, leave some white space between the branches. These spaces are where the light shine through, giving our threesome life. As I work my way down, I make the branches larger. Remember to press your brush down a little bit more as you get closer to the trunk. Painting pine trees is relatively quick, especially when compared to the detailed work of mountains. But our final project will feature an entire forest, so we'll get plenty of practice now, let's just add one more tree beside our first, maybe slightly smaller to the size. Now let's paint the bird silhouette. I just love adding birds to the mountain landscapes. I think it makes the painting so alive it adds a feeling of freedom and just adds the perfect final touch to the painting with a reference image nearby. Pick out the shapes of the birds you find the most striking. Begin with our rough sketch, outlining the head and the body, and finally the wings. You don't have to be too accurate here, These shapes will be very small in our painting. Once you feel confident, you can pick up the brush and with a dark and thick color, you can paint the silhouettes, you can trace over your pencil marks. Or if you're feeling confident, just go ahead and paint them pre hand. It's a small detail, but I think that it can make a big impact on the overall feel of our landscape. And with that, we are almost ready to embark on our final project. The next technique we'll tackle is painting mist, a feature that will truly make our landscape come alive with atmosphere and mood. 7. Painting Mist: In this lesson, we'll get to experimenting with leering and the water wet technique, which are two fundamental aspects of creating the mis effect For those of you who are just starting out with watercolors, this lesson will be very helpful in getting comfortable with the basic watercolor techniques and also with practicing this specific aspect of the landscape. Remember, the painting we'll do now is quick, not about being perfect, is about understanding the process. All right? I'm taping down the paper to keep it in place. This step is not necessary and if you want, you can keep your paper free. I'm preparing the only color that we will use throughout this lesson, which is pure peryling green. First, we wet the paper with clean water and a broad brush. I'm using a mop brush, which holds a lot of water and works well for wetting this area. Make sure the paper is evenly dumb, but not too wet. This will help our colors blend smoothly when using the wet on wet technique. Now for our first layer, I apply pearling green to the bottom of the paper, letting the paint flow and blend. As I lay down the color, I'm visualizing where the pine trees will emerge throughout the mist. Be mindful to leave white spaces, these will become the magical mist in our landscape. Don't stress over the precise placement of color, because we will refine our composition in the next lesson. For now, let's just focus on the feel of the mist. I'm picking the same color but it's more dense and thick. While the paper is still wet, I add more paint. This will create a softer layer on top of the first one, adding depth and dimension to our painting. I'm also painting vertical brush trucks that go from the top to the bottom, one next to the other to create the first outline. I'm continuing by adding paint on the top part as well. If your paper starts to dry, just spray a little bit of water on top. During this step, it's important to keep our brush trucks smooth with the color that is left on my brush. I begin shaping the pine trees, wearing their heights for a natural look. Okay, I'm adding one more layer to the trees that we have in the front. If you notice any harsh lines forming, especially near the bottom, simply use a dumb brush to soften and diffuse them. This woven has the mist effect for the trees in the foreground. I go in with the stronger darker mix. Remember, the closer the trees, the darker and more detailed they should be. For the trees that sit further back, use a lighter touch and a more diluted color. Keep those back trees wet to ensure they appear softer and more distant than those in the foreground. A good tip is that you can use less water as you get closer to the foreground. These helps create a sense of depth with the mist appearing thicker in the background and clearer in the front. All right, I'm going to stop here with this practice, you should have a good feel for creating the mist effect. We'll dive deeper into creating mist and painting pine trees in the final project, so you get to practice a lot more. The last step that awaits us is understanding where to place each subject to create a well balanced and harmonious composition. I will see you in the next lesson. 8. Composition: Rule of Thirds: Facing a blank page can sometimes be intimidating. But the rule of thirds is a fantastic tool that can help us start sketching and figure out the best placement for the elements in our painting. What exactly is the rule of thirds? Imagine dividing your painting into nine equal parts with two horizontal and two vertical lines. The points where these lines intersect are where you want to consider placing the important parts of your landscape. Let's go over a few example that will clearly illustrate this rule. Here the key elements, the circular bouden object and the jewelry on top, are positioned near the intersections, drawing the viewer's eye to them. Additionally, the bottom left intersection is anchored by the corner of a book, Balancing the composition. By not centering these elements, the photograph achieve a more dynamic and interesting balance, guiding the viewer's gaze across the image in a natural and engaging manner. In this photo, the person is placed along the right vertical line near the intersection, which naturally draws the viewer's eye to the subject, creating a focal point without dominating the scene. This placement allows the vast landscape to be appreciated while still acknowledging the presence of the human figure. Here, the wolf is positioned in the bottom left intersection, which makes it a natural focus point. A similar example is this one in which the main subject is positioned on the right bottom intersection of the grid lines. This thoughtful placement draws the viewer's eye and makes this photo more engaging. Now observe this mountain landscape. The peak is positioned near the center vertical line and close to the top third intersection point during the viewer's eye as a natural focal point here, how the horizon aligns with the upper third of the image. It's good to keep in mind that if the focus of your image is on land, the horizon should fall near the upper third, like in this case. And if the focus is in the sky, the horizon should fall near the lower third. In conclusion, the rule of Thirds is about creating a natural flow in your artwork. Guiding the viewer's gaze throughout the scene. By looking at these examples, you can notice how the main subjects are positioned near or at the intersections of the grid lines, making these images engaging and well balanced. Now the goal of this lesson is to get comfortable with arranging the elements of our landscape in a way that feels pleasing to the eye. To do this, it's useful to sketch and start experimenting with this rule by using the green. Feel free to work on a blank page or download the worksheet that I've prepared for you. I'm going to open the file in procreate because I find that sketching with a digital tool is easier. I can quickly make adjustments, erase, go back, but this is just a matter of preference. You can simply work on a sheet of paper and with a pencil. All right, I'm going to create a sketch now. Feel free to follow along or apply the rules we just went through to create your own composition. Since the focus will be on land, I make sure to trace the outline of the mountains near the upper third, this is where the horizon will be. Next, I'm placing the birds silhouettes near the vertical line so that we can balance the mountain peak we have on the left side. Lastly, I will mark the areas where the pine trees will be as they keep sketching a mandful of the grid lines and intersections. Placing these elements along the line or near the intersections creates a harmonious balance. I will add more detail to the sketch to give you a better idea of what the final result might look like. But there's absolutely no need for you to make a detailed sketch, save time and energy, and keep experimenting with composition. I like how this composition turned out. The mountain peak situated near the upper third intersection became the focal point below it. The pine trees are distributed across the lower two thirds of the canvas. And the misty area left intentionally wide provides contrast and creates a natural flow from the foreground to the background. Okay, now let me show you two more sketches that I've made here. I played with the same layout, but changed the shapes of the mountains and where the pine trees sit. Remember, the rule of thirds is just a guide, not a strict rule. So feel free to move things around to find what looks best in your painting. Think of this lesson as just the beginning and let your own ideas shape your work. With practice, you'll get a natural sense of how to arrange your painting well, well done on reaching this stage of the course. Now take your time to go over everything we have covered. Practice painting different parts of the landscape. Try new layouts, new color palettes. And don't forget to work on your class project. It's a great way to see how far you come and to share what you've learned with a community of artists from all around the world. Whenever you feel ready, join me in the next lesson where we'll bring everything together in the final painting. 9. Final Project: Part #1: For our final project, I'm using this watercolor paper from arches. It's called pressed 100% cotton. I'm using masking tape to hold the paper down, minimize buckling, and create a nice white frame. First step, let's trace a basic and simple sketch. Since I'm sketching very light, I'm sharing here on screen an image of this sketch. You can also find it in the class resources, and if you prefer, you can keep it displayed or printed out. I started by outlining the mountains and I did a little bit of erasing since I couldn't get it right at the first try. Then I gently trace some lines to mark the areas where the pine trees will sit. Take your time with your sketch and post the video as needed. After sketching, it's time to prepare everything we need for painting. I'm spraying some water on my watercolor paint set to activate the colors and I do the same on my mixing palette. These are the brushes I will utilize a mop brush, a round, medium sized brush, and two smaller ones for details and for painting the pine trees with a round brush. This one is number eight. I am preparing the colors on the palette. For the pine trees. I'll be using a mix of sepia and pearling green for the mountains. I'll be using pens gray. I plan to keep the paintings background very light. I'll paint it last, but if you prefer a dark sky, start with the background first. Switching to a smaller brush size four, I pick up a small amount of the blue color and begin painting the darker side of the mountain, leaving white spots to simulate snow. Using a larger brush, I soften the edges of these strokes. The brush is wet and I picked the light blue color I had on the palette. We want our colors to blend smoothly, avoiding harsh lines. As you can see, I'm working quickly and I keep using both brushes. I'm adding more dark paint and I let the color spread on the wet paper. As I approached the ridge, I darkened the paint. Make sure to keep the color very light. When you reach the bottom of the mountain, here's where the Mr. will be and also the pine trees. All right, let's move on and paint the right side of this mountain. This side is going to be lighter, so grab a small amount of paint and make sure it is very diluted with water, just like we did for the other side. I'm starting from the top and I gradually work my way down the bottom of the mountain. Don't forget to leave those white spots, especially when you are closer to the peak. We'll wait a few seconds before adding a second layer. Meanwhile, let's paint the other mountain. I'm starting with a dark value of blue. Laying down some brush strokes. And with a damp brush, I add in some water to create a soft gradient and spread the color. I repeat this P to finish the mountain. Let's finish off this side. I'm diluting the color on my palette with more water and with a small brush. I'm laying down some brush trucks to create texture. And a now let's define the mountains by adding final touches. I usually take a look at the subject and I try to spot the areas that need refinements. It can be darkening some parts, adding some tiny brush drugs to add more texture in details or refining the outline. The mountains looks great. So now let's move on to the misty pine tree forest. Firstly, I'm taking the mop brush and create a nice even layer of water on my palette. I'm mixing Perlin green and sepia. Once there's a good amount on it, I start dropping the color on paper in the areas I previously marked. Start with a light value. Decent trees should appear lighter than those in the foreground. During this step, it is essential to keep your paper. If you have realized that your paper is drying spray, some water to allow the color to spread smoothly with a brush, I'm dropping a darker layer of paint with movements that creates the tip of the pine trees. It might look dark, but when watercolors dry tend to be lighter. I'm adding more paint in the center and on the right side, even though here there's going to be mist. I find that the light green color blends well with the composition, offering a better translation than pure white paper. With a clean dumb brush, I create a soft translation between the mountains and the misty forest, using just a little bit of water on my brush. Now I use a smaller brush to define the tree shapes a bit more. We're not aiming for detail here, just a light layer that will gain dimension with a darker layer on top. Now I'm moving to the back and I start painting pine trees with a very light value. The pine trees are small and with soft brush trucks in the midst. Everything looks a bit blurry. And that's exactly what we want to mimic. If you see a harsh line forming or if you have dropped pain that looks too dark, go back with a clean brush to lift off some of that color, just like I'm doing here. All right, that's it for now and let's meet in the next lesson. 10. Final Project: Part #2: Here. As you can see, my paper has dried, so I'm spraying some water to keep working. Now, let's add pine trees in this area. The color I'm using now is a bit darker than the one we use for the trees on the right side. As before, we'll add pine trees here. But remember, these are just vague, faded silhouettes. After painting a group of them, I gently smoothed out the bottom to enhance the missed effect. With a darker value, I add more trees, keeping a second brush handy. This brush is clean and damp, perfect for lifting off some paint to create the missed effect using the same color value. I also refine the pine trees at the top because they seemed a little bit flat and I wanted them to stand out more. This step takes some patience, and also it might take some time. I will speed up the video, but please work at your own pace and post the video whenever you need to. If you're feeling doubtful about your painting at this stage, don't worry. It's normal. I've been tempted to discard many paintings at this point, but pushing through will be worth it. As you watch your forest come to light with the final additions of pine trees, I'm working on this right area of our painting, and before going in with the color, I spray some water. These trees, although closer to the foreground, will still look distant. Keep using a light shade and maintain the dampness of your paper. Now comes the fun part. It's time to use a darker value to paint the pine trees with more detail, starting at the base of the green area. I paint the trunk first, then from the top down, I add the small branches, gradually widening them to create a cone shape. As I reach the lighter area of my paper, I use a damp brush to blur the pace of the tree. You'll see how this first detailed tree immediately adds death and bring our forests to life. Okay, let's keep working on this area by adding more pine trees. When you need to dumpen the paper in a specific area instead of using a spray bottle. I gently dampen it with a brush. If you use too much water, you might move the color that is already on your paper. Use just a tiny bit of water on your brush. Just the essential amount to blur the edges of the trees. All right, we've almost completed our misty forest. The area we're working on will feature the darkest shade of green. Let's begin by outlining the top part of the trees to define our forest edge. And remember, keep your strokes smooth by lightly spraying water. I'm adding just a couple of pine trees and I placed them by following the direction of the green area we previously marked, now with a dark value. I go back in and lay the paint on the bottom part. With the paint that is left on the brush, I add more pine trees. Okay, while we wait for the paint to dry here, let's paint the background. I've obtained a very light gray by mixing sepia and paints gray. So make sure the color is very diluted with water. With a mop brush, I go in in the area of the sky. You can use a wet on wet technique for some clouds effect. By dropping in a darker value of gray, you can create some clouds. Okay, I think this gentle, gloomy sky matches the rest of the painting. And I want to add any darker layer here. Just a bird silouettes shortly. Okay, now we can go back and add the last layer of pine trees. The trees I'm painting now are distinct with crisp edges. As always, I keep using the other brush to smooth the bottom part of the trees. I randomly distribute them over the green area. Okay, once you're satisfied with your forests, it's time for the final touch. I made a light sketch of the bird silhouettes for more precision to paint them. I use a mix of and paint Sra and with that our landscape is complete. Let's carefully remove the tape once the painting has fully dried. I really hope you're happy with your final painting. In the next lesson, I'll share a quick, but super useful tipnancing your landscape paintings. 11. Tip to Flatten Watercolor Paper: If you've used a lot of water like I often do, you might have noticed that the paper can buckle or work. Don't worry, there's an easy way to fix this that I'm about to show you. First, make sure your painting is completely dry. This is really important because you don't want to much the paint once it's dry. Here is what I do. I start by laying a plain sheet of paper on my desk. This will protect the surface. Then I flip my painting over and place it on the paper. Now the fun part. Lightly spray the back of the painting with water. You don't need to sock it, just a gentle mist. An alternative is to use a big flat brush and dumpen the surface of your paper. Next, I cover the painting with another sheet of paper, and then I put something heavy on top, like a stack of books. This weight helps press the painting flat, leave your painting under the weight for about an hour or a little bit longer if it's a larger piece. For this, a small size painting, 1 hour was just perfect. After the time is up, carefully remove the books and the top sheet of paper, and there you have it. Your painting should be nice and flat, looking even more amazing than before. This simple trick can really help give your artwork a professional finish. And that's it for this quick lesson. 12. Thank You: As we conclude our journey through Misty Mountain Landscapes, I want to express my gratitude and thank you all Your presence and participation. Always make my classes a truly enriching experience. I hope that this course has not only enhanced your skills in watercolor painting, but also helped you connect more deeply with the natural world around us. Don't forget to go over to the projects and resources Stop to applaud your work. The project gallery is a space for us to celebrate your achievements and for you to inspire others with your creativity. Also, if you've enjoyed this course, your feedback would be an immense help to let more people know about my class. For more adventures in watercolor painting, I invite you to follow me here on ski show. You'll get updates on my upcoming classes where we'll explore new themes and techniques together. Thank you again for joining me today and I hope to see you soon in one of my future classes.