Transcripts
1. Introduction: A journey of a thousand miles begins with one step. I can't do it. I had no time. I'm too old now, all those doubts until one day, I decided to take that one step. The road wasn't easy. But today, I'm realizing those streams by painting private collections, galleries, and teaching. Hello, each cylinder and I will be teaching you everything you need to gain self-confidence in loose watercolor, tick, tick, through wet on wet, wet on dry. Lifting and water control. You will learn secrets in having great sketch and composition. You will have fun experimenting and applying these techniques in phi beautiful Mr. landscapes is going to be very exciting to see you're on versions. This class was for all levels that beginners will enjoy practicing their newly acquired skills. While they spurious, one will have fun getting loose with their paintings. I really believe that everyone can paint. You just had to take that 1 first step and I would be very happy to take this journey with you. I really look forward to seeing you in this class.
2. Materials : These are the materials for our landscape painting. Watercolor paper, 300 GSM, 30 times 40 centimeters. Brushes. Number 0. Any flood brush you have. Mop brush number one or number two, or normal brush number 10, 11, or 12. I clean large glass, water, water color paints. I'm going to mention the specific watercolor paints before our videos. So each of them, a lot of tissue paper and white gush or any white paint you have that would do. And of course, the spray. So that's it. I'm really looking forward to be painting with you. I see you.
3. Project 1 - Misty River in Alps: So we're going to need born umber burnt sienna, green, gray, scarlet red, and ivory in war. For this mr. River in ops. The abdomen, one fine line sketch for this painting. And now I'm wetting our watercolor paper using the paintbrush, the largest to have. And now I'm using my brush. Number 2 are number one, and we do that. There are my brush than 11 or 12. I'm using yellow or to warm up our watercolor painting, and this is optional. So I'm just really spreading that colors all over our watercolor paper. Now, we'd let some water on our brush and using the pale green gray. And I'm just letting the watercolor paint flow on its own. So the middle part of our painting or the line, will be the foggy part and emissive BAD of our painting. So I turn it upside down and I'm painting the same thing. I'm doing the same thing, green gray. If there is some little incident that the watercolor will go in the middle, but that's okay. You can lift it up. But he is seeing your tissue paper and your thin brush. Green gray again. We then it'll meet a board member to just follow and observe. So as you can see, I'm just doing some lifting using our brush to retain that white paper part as the foggy pods over fainting. So here you are. Another live thing. Sassy can see, I'm just replacing the process over and over again. I also recommend that you have a lot of tissue paper during this painting lesson. Here I'm using a little bit. Tissue paper to get that white spot that I want. I'm using this smallest brush now to paint our pine trees using yellow or actually you can use any color that you like for auto, and you can use your favorite color for autumn. So notice the position and the movement of my brush. So taped up and down, left and right. I also did the green gray on the right part. So tape up and down and continuing it download. I'm just letting the watercolor flow on its own as well. So we are using darker pigment, darker tonal values to indicate some shadows on our painting, on our foreground. So as you notice, on the middle part is more imminent now that we are painting darker, I'm going to add one more tree in here for our composition. So you can do own style, your own. For friends, you can use your unfair friends. Colors, show wish. And I only advice you to stay in warm color. So here I'm adding some depth on the painting by adding 3D light, green, gray. So this will create, will create that depth on our painting. Now I'm adding some shadows on our river. Suggest noticed and just follow and observe the paint brush movement. More green gray to Deb. These will be like forest, far away by increase. So now I'm adding darker tones are green gray for a foreground. And I'm testlet in it. Watercolors we have over pine trees and cilia seeing the mop brush we have. So as you know, the mop brush can load lots of pigments and for n water. So if you're using it, you just have to be very careful. Okay. So if you can notice that there is a painting that goes overboard and we don't want it there, but don't worry, we can always use the tissue paper and paint brush to live. And it off and retain our saved that white on the paper. Now I'm working on are where. Here you go. I'm Nick thing. I'm a little bit so water paintbrush and your tissue paper. So I'm just doing it all over again until I saved that white on the paper that I want. Now I'm adding more dip, moral gray and gray and more pine trees on our background to create that illusion of faraway mountains and forests. So now I'm working on our foreground. We test still wet. Just follow and observe. I'll, I'll try to use small brush to lift up, but it didn't work. So I went back to our giant mop brush and and outs and lifted up. Now, there you go. Then why'd said, I want to retain. Now, I went back to our colorful and bright colors. Scarlet, red. So you can use born seeing and ask garnet, red, yellow or orange or the spawners for our autumn, miss the forest landscape as you want. I personally encourage you to do your own experiment painting. So now I already did. And that of buying three on the left. So it's the same direction, t, left and right, downward physician then one direction to create fine trace and just continue it all over the edge. I'm creating some shadows on the trees. Painted a river in the river. And just notice and follow the movement of my brush. So if you notice, are the ground is still a little wet. I'm actually matching the colors of our shadows from our trees. So I really hope you are having fun in this tutorial and just relaxing those stressors up to lodge. You could always go back and watch this video over an outline again until we get the result that you want. Practice makes better. To that, I'm adding shadows on our Trace on the NAEP site again, using this small brush. So if you wish to have more darker, true now, dolls, you just have to add more pigment and less water. I went back to brush number 1 mop brush. And now I'm adding some shadows. So just follow and observe the process. And as I've said, just try to enjoy it. Now. I'm not satisfied with the background, so I've added more pine trees. Now, our watercolor paper has dried a little bit, is just moist right now. So now I feel like I need to add another small pine trees for composition. I want to balance it. So I'm adding darker tones by increase green gray. And you can also add a little bit of burnt umber, not painting it over amateurs scattering the paint to have that shadow effect. And now I'm adding shadow on our water. So as you can see, you can really see the, the misty effect on our background and because we're adding and lots of contrast by now. So the more contrast to have and the more shadow you had, the more foggy or missed if you can get. So I'm going to add more far away illusion on our background using yellow or for any color, warm color you wish. And I'm just really doing it lightly. I'm just putting lighted colors. These will create faraway mountain. So there you go. So I'm just adding more colors, more texture to it, green, gray. I'm not overdoing it so that we won't touch the foggy effect. Now using the smallest brush we have, I'm using gush watercolor paint. And you can use your normal white paint, Chinese white for any white feigns or you have to create the birds. So geologists have to be sure that the paper has completely dried when you're doing it, or at least that part of the paper that you want to add birds. It's not easy to touch the foreground with your hands while you're doing it. But please do your best not to touch it as I did. So now I want to add more shadows and darker tones. I've added really ivory in war and I mixed it up with green gray. I want to define that line, that foggy line in the middle. So I'm going darker. I think we're almost finished or finish. And thank you so much for watching this video and for your patients. I think you did very well. Well dad, and I'll see you in my other class. Now your wall art is done.
4. Project 2 - Man in the river landscape : Hello everyone. We are going to need ivory black born sienna, burnt, umber, Payne's gray and Chinese white for our men. In the Mississippi River painting. And you can see with the favor Already, I've used Payne's gray for our first wash with lots of water using brush number 2 of my brush and brush number 10 and 11 or 12 on our load brushes. And as you can see, I'm mixing paints gray and burnt umber for our first wash. So for this one, as you notice, we don't have sketch. We are just leaving the middle part of our paper white. So the upper part is like 80 percent and the lower part is like 33 percent. So now I'm using the large brush to lift up some pigment and to leave the paper white. And I'm also using a tissue paper. So just like the previous painting, we're going to use a lot of tissue paper. Now, I went back on my brush number 2 and I'm spreading the paint color again. I'm just repeating the same process over and over again until I get the result that I want. So now I'm just flushing water on our painting and spraying. So you'd have to spray a little bit farther. And I'm just really moving the paper up and down until I get the shapes that I want for our background and foreground. So I went back to Payne's gray and I'm just splashing it everywhere. So actually you can experiment with any color that you want. The colored us upset is really that important. But you can follow minus again if you want. And the purpose of this is just to leave the middle thought white and fading. That will have the misty effect. Okay, So I'm just lifting again to have that texture that I want. Now, I'm using white. Paint. Here I'm using gosh, but you can also use Chinese white if you don't have it. The only difference is that they'll go, she doesn't spread very much, unlike the color paint, Chinese white. So you have to have the goal to spread a little bit. And goose is usually richer in pigment, so it's whiter. But either of the two you can use them. I'm spreading it all over and spring again to just play own and just really enjoy the process of mixing up colors. Any texture you like would be really amazing. Just remember that in the middle would be white. And just imagine how it look like if you want to have that misty background. So why is very important in this process? And a lot of contrast. So it has to be like, like dark and white at the same time. So just play around and add more water if you want. And if you want different shapes and an even texture, you can move your paper around as long as your worth or your paper is wet. You can do everything you can in this process is this is really the most enjoyable part in this painting. You can play around. He can move your paper up and down, and you will enjoy the movement of your watercolor paints. Watercolor is such a fun medium and you can experiment. So you may also need to clean up your table and with tissue paper from time to time because it's going to be messy. So as you can see, I'm just repeating the same process over and over again until I get the texture that I want and the look that I want. So I'm just cleaning up again in the middle to make sure it looks white. And it will look mistake. Because watercolor paints. While, while you're still using it, that pigment looks rich when they are wooden there are wet. But then when they go stri, usually they fade. So you have to go darker. If you want to have that darker color, you see kind of fade away. So I'm still not satisfied with the pigment and the color. It doesn't look dark to me. So I put back green Payne's gray watercolor paint and do it all over again. And I will be repeating the same process over and over again. To her. I want to have that contrast, like bright contrast. Between light and dark to have that misty effect on our forest and rerun our tests. You can see you really need a lot of tissue paper. So I really hope you are enjoying the print this process as a SIM. So I'm even using my brush to have that movement watercolor paint than I want. So I want to have that upward movement, or white indicates fog. It a middle bar, misty forest. So I said, said, I'm just repeating the same process over and over again and then spray it again if I want to have that small that whites. And now I've cleaned up Peleus. And now still doing the last lifting for our painting. Also, if you get, pay attention and special care on the edges of your paper. And that was the really nice because she will appreciate that at the end of your painting. So I've changed brush, this brush normal numbers 0. And now I've already started porn sienna. You seeing brush number 2. And we do is 10, 11 or 12. So this is moist paper and boring sienna with lots and lots of pigment. So to have this pigment rich pigments and buoyancy and f, you have to mix the color very well with less water. So here I really want to have a lot of pigment, richer pigment and burnt sienna. So I'm cleaning up. I'm drying up my mock brush because it holds a lot of water. And just using MTS to the pigment of buoyancy. And I'm using this small brush, I'm going to add more bright colors such as yellow, orange. So this is optional. But you can also add yellow 4k on your trees. So actually you can add any color that you like as long as it is warm. So I say if you want to do some experiment. I suggest that you stay on warm colors like yellow, brown, sienna, bright orange. Any of these colors that wouldn't look our trees worm-like. Autumn met, as I've said. You can, you can do experiments if you wish. So as you can see, I'm spreading our yellow org. So if you want and have that risk pigment, you have to use two paints and mix it very well. So now I'm adding branches and small trunks for our trees. And notice the position of my hand. I'm really doing a light touch. And I'm almost a using the colors that we used for our lives. And I'm just dragging it to use amine to have our branches and twigs. So this is moist on I mean, this is dry or moist paper. So as much as possible, you have to use really light touch. Now I'm chains brush. I went back to my brush number. And I'm going to have that division for our background and foreground parts of my paper. So I'm using darker tones now, which will give some highlights and details on our painting, the trees and the ground. So this is now the combination of policy Anna and ivory noir. So they will serve as shadows and highlights on our painting. So these will also give that wonderful contrasts that we need so that we will be able to see that Mr. effect on the background. So the more dark you get on your main subject, the focal point, which is the tree. The more we will see the misty effect on our background and foreground. So I'm really enjoying this process. I'm just spreading and the dragging the base. I'm just letting the watercolor flow on its own because the leaves, that part of the leaves is still wet. So it's really mixed, mixed, still mixing up. And I'm just dragging the color to create that small twigs and branches effect. To this part is really fun, I would say. So I went back to the brush and I really want to have that contrast. So I'm just spreading it on our ground and creating this illusion of a ground. So this part, you can really do some experiment. He can add another color if you want. Here, I'm just dragging the black, paints, the ivory black and the born to have that shadow effect for our three. So this is the shadow on the river. So as you can see, I'd like to have more slight shadow, little shadow on the water. So I'm just going to draw using this small brush and some paints from our shadow. So I'm alternating the small brush and the big brush. Actually. It really depends on what you want. So as you can see, we can actually see the bright misty effect. Integrate some fence which Emil make it larger and a little bit in awhile. Now, this is wet. On dry. I'm creating birds using the combination for an amber and ivory nor. So you have to be sure that this part of your paper has already dried using this small brush and just the tip of our small brush. So I'm now looking at my painting and trying to, to think. What else can I add as detail? So I wanna go farther for that horizon. And I want to create and men fishing on the river there, the small boat, dragging a small boat. So I'm still using the small brush that we have. And I've also added before that, I've added yellow 4k. Again. Before the the trees will have dried up completely. I'm just doing it for highlights and adding more varieties of color. As I've said, you can experiment any color that you want on this part. So you Islamize, the paper is still wet, you can manipulate it. So I went back here and just looking, what else can I do? So with a small brush, I'm going to create now as I've said, the man and dragging a boat, fisherman dragging a boat. So I'm just using the tip of my watercolor brush and avoiding not to touch the paper with is still a little bit moist. It's kind of difficult to that detach it. And here I feel like I want to go darker and father. So here I'm just using ivory, new RN board sienna. But it's a lot of ivory in war, a lot of pigments. I'm getting it straight from the tube. Okay, So we're almost finished. Keep it up here. I feel like I need to make some some adjustment. It doesn't match the big fence doesn't match with our small man. So I'm just going to create an illusion of rocks and just going to create the smaller fence. So sometimes you have to make some adjustment. If you have to. You can add more details if you want to and just have fun with it. So thank you so much for watching your amazing. I hope you enjoyed it and I'll see you.
5. Project 3 - Autumn misty landscape : Welcome, will be painting a mystic forest, one straight line in the middle, 80 percent apart and 30 percent downward. We're going to need port number Boise and agreeing grace colored red. So you can actually use any paint colors that you like for autumn. So I've started it. We're using the smallest brush we have number 0. You sing Burr's sienna with very light pigment. So as you can see, we almost get to see the sketch anymore. In this painting is finally because we don't have the sketch of our alot. So now I'm really kind of mixing up different watercolor beans and now I'm using green gray to form trees. And this is still wet on wet. So our paper is still moist. And width is born sienna to just observe and follow. And this is a little bit of scarlet red. So as you can see, I've added trees and it's kind of skip a little bit our video, but that's fine. So you have to start on the right side and then go to the left side and then downward with different colors as much as you like. But I abuse born CNS guarded read, Born Amber. I'm just gonna mixing those colors, but you can use your own colors. Just imagine all the colors in autumn. So just play with these colors and don't stress too much. So I'm lifting it up to get that misty effect on our forests. So lifting up is using your tissue paper and your paint brush. Now I'm using brush, brush number 2, mop brush. So you will have SM set number 10, 11, or number 12, normal brush. Now I'm using a smaller brush and that's 0. And I spray did a little bit if you know this dot. So if you need to spray and moisture paper again because there were working on wet paper for now. This go ahead and spray but far away. So I'm just alternating thick pigment and light pigment and less water. It by 12 HIV it lighter. And I'm creating vertical lines for our trees. Just observe and follow. And again, we're going to need lots of tissue paper for this exercise. So just in case you have your health beside you. So I've kind of clean it up a little bit. And I'm repeating the same process over and over again until I get that depth and contrast that I want. So now I'm using scarlet red for our 3s, and now we are going darker and darker tonal values. So as you can see, it's still a little bit wet. The paper is still a bit wet. So with that, I'm kind of spreading our paint to get, to get those leaves. And it is, this is really fun because you can see the watercolor paint is just flowing and moving on its own, suggests enjoy it and just let it flow. I think as long as you have only a small brush, you can't go wrong with these lines. Just enjoy it and just have fun. So now we're going darker and I am using green, gray Barn Amber. And I'm just dragging the colors from our leaves. So we are trying to balance their composition because as you can see, we have a lot of space for our foreground, so we need to put more color in there as well. And we are building like, like forest landscapes. So it has to have some trees that are balanced as well. So I splashed once and with paper a little bit far away and weren't going darker. And I want to put some, some green in there. So I've mixed up a little bit of green, gray and scarlet red and some born Amber. So one at great darker trees right now. So you notice the position and the direction of my brush. My brush strokes is going from the middle and then left and right and left and right. The same movement. Adding some water and then more color paints. And this going down, I'm just letting the water, the water color paints, move on its own. So for this exercise, I would encourage you to stay on the same range of color, which is warm. So try to avoid using different range of colors to have that unity that we have for autumn season. This exercise secant also experiment with differences. Lie, winter. Some spring. So with that, you can use your color preference as well. I would encourage you to just stay in warmer color. So every time you paint, there should be a little bit of warm colors and cool color. So makes this together and everything will be perfect. So now I'm going down, I started on the right side of a paper. So I'm still using the mixture of green, gray and bore number and scarlet red. And I'm and dragging it, I'm just letting the water current flows on our wet paper and just follow the process. What's also flush to wet the paper a little bit nuts really. So it's very important to leave some white and not to, not to color everything evenly. Now as flushing it with clean water to get that white paper. So it's just really playing around with colors. And if you're doing this, it's probably best to cover your background, which are the trees. It may need a little bit of practice not to cover it. So you may, you may need to collaborate. And also there's some little accidents because it's kind of messy with this guy. And then loose watercolor could be messy. So just use water to clean it up and why did up and everything will be fine. So as long as your paper is wet, you can, you can still do something about it. So as you can see, the background is starting to get Ms. Misty, and this is what we want to happen. And then I waited just a little bit for our background to be moist and not too much weight. And I've added some leaves. So this is moist, is not very wet. And I'm adding some leaves in some parts of our background on the trees using burnt sienna. So as you can see, the forest is kind of fading and delight. Colors with lighter pigment is kind of giving you the illusion of depth and faraway trees that are fading, that being hidden by the fonts. So then I went back to darker, medium, dark pigment, which is green gray. And then kind of dropping the colors everywhere to create the illusion of leaves. And now with your width, I mean, with your dry upper part of your background, you can create birds. And as you can see, I'm kind of lifting it just to create some editions of birds. And there you go. The background is a little bit and dry right now. And now we're working on our foreground. Foreground, I want to add more colors for our autumn landscape. So I'm using burnt sienna and I'm mixing it up with scarlet red as well. So I really hope you enjoyed this class and thank you so much for watching.
6. Project 4 - Misty pine trees horizontal landscape : So now we're going to paint another landscape using permanent green, green, gray, and burnt umber. Using the smallest brush rehab, we are going to paint pine trees horizontal. Brush number 0. And this is wet on wet on dry paper. So notice the position and the direction of my small paintbrush. It starting up and down to the left and to the right side of the paper. To make the pine trees. If you want, you can do a short practice, another piece of paper. Following the video. You can pause the video and go back to our painting. So from the tip and then up and down, left and right, I'm just doing it over and over again, the same movement. So I'm doing I'm alternating the dark pigment and my pigment. So dark pigment straight from the paint. And then I'm just adding more water to have that lighter pigment and just small amount of watercolor paints. So I'm basically just alternating too light and dark. So I'm not painting it evenly to have that misty look. So I'm just repeating it over and over again. And we are using the smallest brush we have, because it's easy to manipulate for our pine trees. And it's not loading a lot of water. So as you can see, I'm going up board starting down and then airports of our paper that reports on my paper. And I'm alternating the shapes as well. So we have small and big, small and big pine trees with light and dark pigment. So if you want to have light pigment, just use water and a little bit of paint. And if you want more darker shade, then you have to use more paint and less water. So if you want, because this was, this requires a little bit of practice. You can do some sketching if you want. And you just follow the sketch. So we are doing some lines pointing upward towards like we're going up to the mountains with our pine trees. And we are imagining the slopes. And in between there are bugs. So I'm just repeating the same process over and over again. I'm also lifting the water color paint just flow and have that loss effect. I'm also doing some spreading of our water color paints and water. I'm just really imagining that horizontal line right in the Eclipse, their mountain as, as if we are climbing it, as I've said, alternating the shape and the water color pigments. So as you notice in this landscape painting, we don't need much tissue paper as we needed in other paintings. So as you can see, I've added a little bit of color which is born. This is an up to monopolize the texts. I mean, the color bar painting, not only green. I'm doing this to add a little bit of warm filling. And from here, I'm lifting you seeing the tissue paper, a clean piece of tissue paper. And I'm just it you can see if we can notice that I'm just really dragging the watercolor paints, I'm just trying to let the watercolor paints flow on its own as well. So there are many ways to paint. Pine trees. Were just it in one, probably the easiest way to do it existence. From the tip you go down, include the left and right brush strokes and just dragging the color of the water color paint. So now here we're going a bit darker. So it is enjoy the process and just repeat it. You can even have your own composition using the same, the same technique, this same brush stroke, the same colors. And then I would say that you can even change your watercolor paints. You see. For now we're just painting green pine trees, but you can also use warmer water color paints with other colors. Another season as you wish. And dragging the color, I'm going way up there to our Alps. So just a little bit of idea. We live in a countryside in France, and we have a lot of pine trees. Then a very interesting foggy seasoned Nazis and foggy times c, in the Alps. So this painting was inspired by my home, home place. So every morning and it's really foggy and it's called, but it's very pretty. You can even make bigger paintings of this and just repeat the process and enjoy it. So as we go upward, we are getting lighter and lighter colors with a pigment, I mean, and if you want, you can, you can really do some experiment. So just remember you can use, I think it's better to alternate the watercolor pigment, light and dark, and just let the watercolor paints flow on its own. And you can help it by, you know, you can, you can have the direction that you want by helping or dragging it, dragging the water color paints and and you're seeing the tissue paper to lift. So I really hope you are enjoying. This process is really simple exercise and this kind of painting is real nice. Our wall, wall declaration. It's really cool and it's really refreshing and relaxing to watch. I hope you are enjoying it, but as much as possible, really just relax in. Just, just have fun. I would really love to see your own version for this and your own composition and just, just have some interesting outputs. And I'm really excited to see that on art gallery. If you have any questions or inquiries, just leave some comments and I will be very happy to assist you. So now I want to have more misty look and foggy looks on this painting. So I'm just going to splash with our water in a very far away position. Ghana and do some detailed data lake and highlighting. So I will go back to green gray. So green gray is darker in color in it. So it's realized if you mixed it with burnt umber, permanent green is lighter in color. And it's usually used for breakthrough paintings. So now we're adding some sort of shadows on our pine trees. And I'm going a little bit darker, so I've makes green gray with burnt umber. So now that's a lot of watercolor pigment for our pine trees to have more contrast. So our paper is still moist because I've sprayed it. So as you can see, we can clearly see the fog. Fog effects ones. There's some other bit of contrast. But we don't wanna overdo this in this painting because he want to keep it light from this one. So we went to, we want to make it like fading by the lake landscape. So I'm just going back to all the Pinterests we have and just adding details of light and dark, light and dark tonal values. Also. I'm trying to pay attention not to touch it with my, with my hands, although the sky very easy, but I'm doing my best not to touch it with my, with my hands. This using my fingers and my brush. I found this exercise very relaxing and stress free. Because you just repeat the same pattern, the same moments over and over again. But at the same time, you have to pay attention with your composition. Not to overdo it, net to a 100. Do it just enough colors, just enough pigment and balanced composition. So you can do this sameness I said with different composition and I will be very happy to see that. So now it drives an l bit. As you can see, I've changed my brush into brush number 2, it's a mop brush. And for you it's crashed number 10, 11, or 12. So the mop brush, I'm using it because it knows lots of water and pigment. And I'm doing spreading of colors in the wings are still bit of lifting as well. And I'm dragging some colors to define the edges and forgive dad, shape that I want. Shapes and lines. So you see I'm just really adding more water and I would say, is this really letting the paint flow on its own? But at the same time I'm kind of helping it to go to that direction and shapes or lines that I want. So these wall art and I think it would look nice on your, on your kitchen. And even in your nursery rules. I always say this will also make a wonderful Christmas guards and observe. So I'm getting darker with our pigment. So with my small brush and going back to our pine trees and adding details, and just plugging some colors. But when you splashed water, just push it a little bit far away. Or in my room when you're painting your shapes. So those darker values, thus nose was saves our shadows, which is very important on your painting. They are suggesting shapes and colors on your pine trees. And older is that we have to leave that on our imagination. Suggests repeating over and over again the same process. Small, big, small big pine trees. I would say never the same shapes. Never repeat the same shape. And no straight lines as well. So if you have ever, you will create dead something really straight, then you can do Adobe uplifting to, to lift up the colors. So here I'm just using my tissue paper to live up to nip dab, some watercolor paints that I want to have. The lines that I like. I think we're almost finished, Then. I really hope you enjoyed this really simple tutorial. And I really hope that you are doing a lot of experiments using this technique and, and see your final output. I'm really looking forward to it and thank you so much for watching this video. And I'm excited to see you in the landscape paintings that we have for this class. So I'm just adding more colors and adding the final details for this painting. And I'm just really enjoying the process and I hope you are too. Also, if you notice those fading pine trees and they're very important because they will give you that div of the painting. But because if you color them in this same, if you paint them exactly the same, you will lose that trauma on your painting. So those are like depth and faraway pine trees area. So add details as much as you live, but try not to overdo this. Stanzas. Are they more depth on our painting by adding really light pigment? Are pine trees. Using my fingers if something come up that I don't like to create more depth and a faraway illusion. So I think we're almost done. We're finished. And thank you so much for watching this video and hope to see you in the next class. Bye. See you.
7. Project 5 House by the hill landscape sketching: Hello everyone, Welcome to sketching. So for me it's very important that we plan our sketching. And before we painted it to avoid any mistake. As they say, the moment is sketch is the moment that you start painting. Composition is very important, so you have to get your sketching right. It should feel good already. But the moment you finished sketching it, it is important to save it to planet in order to save time. And if you can see, I'm just sketching it lightly. We will be sketching a house in a middle of a foggy landscape on a fifth of a mountain. So notice the position of my pencil and I am holding it. I'm just using my pencil and sketching really light as possible, just enough for me to see the lines when I'm finally painting it. So if you feel like you need to do it on another piece of paper before, please go ahead. So avoid erasing as well, so it won't damage your watercolor paper. Well, I think is almost done, just adding a few details. And I'll see you in our painting glass.
8. Project 5 House by the hill landscape Part 1: Okay, so now we're going to need born under permanent green. Ivory knew our royal blue, green, gray buoyancy and a yellow orb and scarlet red for this painting. This is called landscape with the house. Okay, so I will, I'm going to wet our paper using a larger brush on the backside. So I'm just gonna spread their water all over at the back of our watercolor paper. So I'm doing it so that it will stay and not move that much. Okay, So I'm also teaching the front side of our paper for our backgrounds. I am leaving the house. So I will try not to wet the house and just spread the water all over. Suggests, observe and follow. So you just need just enough water too to, to wet our paper. And now I'm going to need mop brush. And number two. But when you, you can use the normal brush, which is number 10 or 11. My brush, they are special brushes because they hold a lot of water and not watercolor bates. So now I started off with light pigment up real blue. So to have this light pigment, you have to have enough. Now, I'd like to have a little bit of warm ambiance on our painting. So I've added just a little bit of yellow or I'm just letting it spread on our background. And you are going to need lots and lots of tissue paper because this is going to be a little bit messy. So you have to have your help desk beside you. Tissue paper. So if you want to have really light pigment, you just have to add more water. So you assay can see I'm starting off with their Cloud and using real blue again, but this one, this time, it is richer in pigment. Suggest, follow and observe. I'm just dropping that color for our clouds. And just I'm doing this, I'm moving the paper so that the color will fall and mix on its own. And I'm just going to use my brush to have the shapes that I want. So as you can see, also pay that tension at the edge of our paper. So by the moment it dries, you can add, do much anything about it. So you really have to make sure that your water is still moist in this method. Now, I'm using green gray and a pen and mix it up with a little bit on port number to have that warm effect. So just follow on, observe the brushstrokes, those whites on their paper. They are very important so you leave them behind. So they will be our misty effects on our painting. So those are pine trees. I'm using permanent gray again, permanent green neuralgia. And I'm mixing it up with our burnt umber. So I'm trying to have darker and richer pigments or I'm really mixing it up with lots of veins. And I'm just letting the water color paints flow and its own splashing as well as you can see. And I'm trying to leave some parts of our painting whites, especially the foreground and the foreground in the middle ground. So this is still wet and wet. So I clean up a little bit with our dish of paper, a plane the table. And now I'm getting darker with more pigment of permanent green. So now I'm mixing formatted green board, Amber and a little bit of burnt sienna to get that warm feeling that I want. And I'm still following the same brush strokes that I did at the beginning to retain that misty effects. So the focus, the focus of, the focal point of this painting is the house. And we're trying to avoid painting it yet. So our paper is still a little bit moist. So the pains were still flow and move on its own. To just observe and follow our map. Brush is loading a lot of water, so I tried to use the tissue paper to dry it up a little bit. So if some, some colors water can of beans spreads white part, and just use your tissue paper and wiped it out. So here I'm kind of mixing a lot of watercolor paints and little bits of Born number. And it's a bit of burnt sienna, a little bit of green, gray and real blue for our background. I'm just trying to define the background here, which are the mountains, but just follow and observe. So what is fun about? Loose watercolor technique is that as long as sure your paper is wet, you can make a lot of shapes and changes as much as you want. Here. I'm doing some lifting. So using your watercolor brush in your tissue paper, I'm just lifting and trying to clean up some parts of our paper and our table as well. So as you can see you, you can already imagine and see some misty effect on our painting. So in order to get that really bright misty effect, you have to have a lot of contrast to wear golfing darker on our painting. So I'm mixing up the boring CNR born amber, a little bit of ivory noir. And I'm just going to add more pigment for our backgrounds as well. So it's very important that our background is still wet so that the water will spread and we'll have that lose effects. So if you feel that you need to spray it again to have wet paper, you can go ahead. But when you spray tried to spray father, don't spray it very close because it can know when you're painting this very important. So I've created clouds. I'm using my Paper. And now we're going darker and darker. We're going to have darker values. Using our green gray and a little bit of born Amber. I'm painting the pine trees. So as you can see, we have more contrast and we were able to see more, more of our misty effects now. So I'm still leaving that house in the middle, white. So go ahead. You can play on your own. For the foreground. You can add more colors that you like. You can even change this season that you like, that you wish. Mine is like spring, but you can also have it in autumn. It really depends upon your disk. Go ahead and play and enjoy the process. I think the paint, watercolor paint is not so important. And it's the composition and shadows that really counts on painting and the contrast. So here I've added foreign and we are going darker and darker as I'm sad to get that contrast and listed filling. And you can also notice that our house is starting to pop up because of the darker values that were continue adding. So I'm just flushing it now with with water. And you seeing the tissue paper to get those whites? That I want to, as I've said, as long as your watercolor paper is wet, you can do a lot of things. You can get the white that you want. Okay, so now we're going to start painting the middle ground that focus on the focal point of our painting, which is the, how are you seeing the yellow or so they gather org is just to get that warm feeling. As you can see, some of the colors is spreading on its own, but that's fine. Now I'm using a little bit of burnt umber to call on their roof of our house. If you can leave some parts of the roof white, that would be really nice. So some water from our background or foreground is going to mix on the focal point resist the house. But that's fine because this is loose watercolor painting. So now I've added darker pigment of are born sienna. And if you notice, I'm just using the tip of my brush. So to get this pigment, you have tablets of veins and mix it very well with less water. So here I'm trying to be careful in adding those details. And since the background is still wet, some colors might spread up so you can do some lifting if that happens, that's okay with your tissue paper and your brush. So now I'm adding its ivory in war while our paper is still wet. Adding more details. And just using the tip of my watercolor brush. Tried to leave those wide. Don't color, I mean, don't paint everything. Just follow and observe. Okay, so that's continued to our next class.
9. Project 5 House by the hill landscape Part 2: Okay, so let's continue. Now. We are going to add some flowers on our moist watercolor paper using this Carnot read, flung, going to drop that watercolor paint all over our foreground. So if you feel that you need to cover up, you can cover that background with the tissue paper if you want. So I'm just spreading the flowers everywhere on our foreground. I'm still using brush number 2. Now. I'm going to use yellow, orange, and I'm going to spread it the same, the same thing I did, the desk scarlet red. So I really encourage you to do your own experiment. You can use any colors you want for our flowers. As long as you have rich pigment and it will mix. Now, I'm going to do this process over and over again until I get the result that I want. So now I've used burnt sienna. If you want. As I've said, you can use other colors. And our paper is still a little bit moist. So as you can see, the color is spreading. And we'll also use seeing the tissue paper for lifting to leave some whites. On some areas that I want to sell as much as possible. We don't spread and the colors on our misty effects. So now I've painted our CLIL house using born number and they brush number 2. I'm really using dark pigment of burn amber and even added a little bit of ivory in war. And now I'm doing the shadows. So it's really like Dutch. Nse can see, our veins is not spreading that much because our paper is just moist, is not very wet. You can use your fingers for some lifting as well. You just have to do it really quickly. So I feel like I need to have more contrast and more pigment and go ahead less water or more paint on your brush. And just have fun. Here, I've added scarlet red. And then if a bit of ivory in war, and I'm going to spread it all over the foreground as flowers. I also encourage you to put tissue paper on your background just to be sure that we don't spread the flowers. Everywhere on your painting. Because this already a little bit dry is lead very wet. So we can't we can't lift it up that much. So go ahead and cover your background with the tissue paper. While you are trapping the colors, the water color paints on your foreground. So as I've said, the more contrast you have, the better. Because with moist, I'm sorry, we, the misty watercolor effect. The more you have the contrast, the more the white and the message will pop up. So eventually I'm just repeating the process all over again, basically until I get the result that I want. So go ahead and experiment with your favorite watercolors for your flowers. He didn't have to do exactly what I'm doing. Just do your own thing and enjoy the process. So now I went back for our leaves and I'm using permanent green because I feel like I still need to do more contrast and add more colors. So I'm just repeating the process over and over again. More pigment, more colors, and just flushing and wrapping the colors until I get the result that I want. Sometimes I would even get the colors directly from the tube to have that really rich pigment that I want. Also just a little bit of tips when you are using your tubes, just remember to close them as soon as you're done because the phase really die really quickly. And you don't want them to spread all over your, your, your painting tubes. Okay, so we're still working on moist water color paper. But the forgone has tried just a little bit. As you can see, the watercolor planes is not spreading, it's not moving. And just reach and still. So I'm adding more contrast, more trees so that the misty effect will be more imminent. Now, I'm using another bit of born sienna, lighter color for our little house. So usually in watercolors, you always start with lighter colors. And then you go darker and darker. Although there are some exceptions, of course. You can even use your fingers for lifting. You just have to do it really quickly. Now, I'm just using the tip of my number two brush. Now I've chased brush, I'm using 0 number to add more details. So when you're adding details, find details, you can use smaller brushes. And I'm adding darker details. Here. I'm going to create some branches, some twigs. But this is really optional. This part is optional. It really depends upon you. I feel like a need to go a little bit darker tonal values. So I've added more twigs and more branches on our foreground. But this one is really optional. You can go darker, just adding more pigment on your leaves or flowers. And you decide if you want to do, to do this. So if you wanna do this, you can use this smaller brush you have and just do light touch with our dry watercolor paper. So as I've said, I'm doing this for contrast and also for the sake of our composition. So I'm trying to balance the painting by adding more colors and by adding more details. And as you can see when I've added the branches, the trees on our background, the white pop up more. And now I'm using yellow or dry watercolor paper as flowers. So I'm creating flowers right now. As I've said, this one is really optional, so I think we're almost ready. Casey, I'm just adding some highlights, adding more details. I'm just flushing colors. And I'd like to make it more colorful. So I'm just adding more details. Now. This is wet. On dry. I'm adding more details on our house, on the windows. You seeing a number to my brush. So the point is that I want the house details to get as dark as possible. Because this is will be our focal point. This is our focal point. So I want it to be dark. We can say that this is the most important part in our paintings, so it has to be dark. So when the viewer will look at your painting, they start from the foreground, which the flowers, and then their eyes will go directly straight to the house. The House has to be really dark. So I think you've done really well with this tragic. Thank you so much for your patients and watching. I hope you enjoyed this lesson with me and we will continue with more of our misty landscapes. I'm sure you will enjoy them as well. So adding the last detail that I want, which is the fences on wet, on dry. So we're almost finished. You may also sign your masterpiece. And I would be very happy to see you uploaded it on our galleries. And if you need anything else, you just send me some message on the comments section and I would be very happy to help you out. There you go. I'm just doing some dry brushing and adding more contrast as possible. So now you understand that it's very important to plan your painting, right? Be bright right before yours. Gouache is really important to see how it will end up before starting it over because it can save your time and also your materials. So there you go. We're almost finished this adding the last details. I want to add some and the birds on our background. So to do this, you can have really small brush and do some light touch. I'm using a lighter color, lighter pigment of born Amber. And when we're done, I think that's it. So just sign your masterpiece, as I've said, and you can frame your paintings and says, enjoy it. Thank you so much and I'll see you in the next painting lesson.
Dawna Mae, Watercolor Artist & Illustrator
