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