Landscapes: A Free-Flow Watercolour Masterclass with Jane Davies

1. Introduction: Hello, and welcome to this all levels watercolor class. Today, we're going to be painting four mini landscapes. These little paintings will really help loosen your workup and ignite that feeling of experimentation and intrigue. Start off with Mountain View, the simplest of the four. Then we work our way through Church view where you can add layers and details as you wish. Then onto lakeside trees, this is lovely with a great sense of magic and wonder. Finishing off with mountaintops with that fabulous texture and Rudy clouds. There's also an extra lesson where I explain a little about why I choose to paint landscapes as a class and not my usual animals and birds. And there's also a lovely show and tell from my past that I think you'll find interesting. I'm Jan Davis. I live, paint, teach, and walk my lovely spaniels in the beautiful South Downs National Park in England. Over the last 20 years, I've taught myself the free flow technique that you see today. Not having been to art school, finding my own way has been fun and sometimes daunting, but has allowed me to develop my own style. This has led me to teach others either on a one to one basis or as part of a group in a wonderful studio in the heart of the South Downs. I also run a successful art business where two days are never the same from the thrill of exhibiting to painting pet and wildlife commissions in my own home studio. In all my classes, you will follow along in real time, where I can guide you to keeping your work loose and fresh without overfussing. If you're just starting out, my three beginner classes will guide you with your first masterpiece painted in only 15 minutes. Then you'll find dozens of my master classes available, covering a wide range of beautiful subjects. In each one, I share the techniques I use in my own professional work. We'll have a lot of fun together, and you'll gain the understanding and confidence to incorporate everything you learn into your own work. You'll be amazed at how easy watercolor can be. I'll be showing you how to keep things wonderfully loose and light filled with minimal colors. How gravity, timing, and plenty of water can create watercolor magic. I will also show you how to layer up your paintings with the emphasis on simplicity. There's a wealth of other tips and tricks I share as we work our way through the class together. If you'd like to learn more about me or my work, then please pop over to my website at Jane Davis watercolors.co dot K. This can be found on my profile page, along with the links to my Instagram and Facebook pages. I'm very active on my social media, where I love to share my art, especially on stories with many ideas, works in progress, and tales of studio life. I really hope you will share all your paintings on the projects and resources pages. I love seeing your masterpieces. And don't forget I'm here to help if you get stuck or have any questions. I want you to experience that buzz of painting in this liberating wet on wet loose style. So come and join me. 2. Materials: So let me run through all the materials you need to paint these gorgeous, little mini landscapes. I'll start from my paints first. I've only got three, so I try to be a little more minimal for you, so we're not having to juggle five, six, seven colors. So there's just the three. I personally like the combination, but obviously, it's completely up to you. I did think if you've got a color scheme, you'd particularly like maybe you've got a room you'd like to paint a little picture for, then marry those colors up. So L I always say, Don't be a slave to the colors I'm using. But, I say, I found these nice. So I've got the sepia, I've got Caqudme deep gold, and I have an indigo. The paper is arches, and I've really enjoyed using it. It's only 90 pounds. It's quite thin, but it's lovely. Lovely for these landscapes. It's not been stretched, so I know I've popped these on a little mount, but let me show you a one of my practice pieces, you can see it's buckled a little bit. But I just like the spontaneity of lifting up your piece of paper and going. I really want to keep these nice and light and easy, and spontaneous for you. Of got my little pot of water. I've got some salt, just a created little bit of texture. I got a little rubber to rub and pencil marks out with. I have my kitchen roll, paper toel, pencil, three brushes I have got a large It's not actually a mop brush, but it's quite a it holds a lot of water, and I found it really nice for wetting the areas down nice and soft. I've got my number ten brush, which I do most of the painting with, and I've got. Just a number two. I don't use it a lot, just odd little bits and pieces. So any brush of that sort of numbering would be absolutely fine. What else have I got to tell you hair dryer is handy, but as ever, it's always love you to let them dry as naturally as you can, more so with these probably little landscapes, but it is handy just to finish off with so you can kind of crack on and do the next little bit of layer or next painting. Also got a tiny little mounts, which are just nice. You obviously you don't have to do a square. These are all done in a square. It's nice to be able to mount your piece. You could do these larger. You could do them all sorts of shapes and angles and aspects. But yes, I've done a little square, and it's nice to be able to mount these landscapes, because as you can see, from the outside bit is quite mucky, but the minute you put a little mount around it, it really does help them. And then all the materials and the mount sizes can be found on the projects and resources pages. So no reference photo, I'm afraid today. These are all out of my imagination. Lucky you. Obviously, these are going to be the pictures themselves. There'll be a downloadable file, which you can obviously download and have a look and pop those up onto your device or however you usually watch use the reference photo. So before you start painting, there's a little a lesson. I just want you to probably have a little watch because it's it's hopefully helpful why I've chosen these landscapes, and I've got a little show and tell for you. So I'll see you in the next lesson. 3. Show and Tell: I just wanted to pop on here first before you pick your paint, brush it up and explain a little bit more about this class because obviously it's a slightly different format than usual because you've got we just got the one subject. Now, I know I'm not particularly known for my landscapes, and they aren't necessarily my area of expertise, but they are exactly I use exactly the same techniques as I do in my animals and birds. It's just a little more pared down, just to keep it lovely and simple. Obviously, you've got four to pick from. So you can pick and choose whichever one takes your fancy. Obviously, it would be ideal if you did all four, and each does have their own subtle way of creating the end result. My idea with the little landscapes. I really wanted to give that to create that spark in you and sense of intrigue and experimentation. You kind of like, Oh, if I did that, W S with a little and the little sorry, the little church landscape. You may not see a church in yours. You may have a barn in that corner. You may have something similar to this, maybe the barn's here, and you got that lovely hedgerow going down. So hopefully, as I say, this will just give that little spark of intrigue, I suppose. And the beauty with these landscapes is they are very simple. And the less you do, the better the results will be. And the more magical and light filled you'll get your piece to be. Do you know that feeling when you've done a really good piece and you're pleased with it and you know you haven't fiddled and fussed with it, these little landscapes really amplify that. And I must admit, when I went back to doing my animals, I had quite a big commission to do. And I definitely felt more confident, a little more at ease just putting that paint down and allowing it 'cause we all get a little tighter, the more I know with some of my commissions, some of them are quite detailed, and it just encourages you to be more detailed. So these encourage you to be looser and more expansive, I suppose. So, yes, enjoy them, have fun, and be light hearted. But before you disappear, I go, got to tidy these away because I have have a little show and tell for you. I don't know. Many of you probably don't know, but my dad was a beautiful odd color artist. He did He did landscapes, only landscapes, dabbled in the odd odd animal. If I'm honest, he wasn't quite so good, but he excelled at buildings, in my opinion, anyway. He just had that lovely sense of perspective and detail. So some of them are wonderfully detailed, but he has that lovely looseness about them. He also loved painting boats. So I must admit my first when I thought about these landscapes, very, very first thought was like, Let's come. We're copy one or dad so we can do that together. But when I went through his older paintings, they're all too detailed for me. I can't I will never be able to achieve something like that. It's my weak point, so I can't do structures. So hopefully what I've done is taken some of the looser parts of his work and put them into little anscapes. So here's another one, a little house. I do remember this cottage in my childhood. Sadly, he passed away quite a while ago, so these are quite old. Some of them are 1980, 1980, yes, they are. Um, yeah, scary how time flies, isn't it? Again, another really pretty piece. He did like his masking fluid, which I've never really noticed before, but he's picked out little bits with masking fluid to get that detail. But these I love this. These are the looseness I love and that wonderful crisp detail. It's wonderful contrast, isn't it? He would probably wp. I won't say that. But yes, he probably wouldn't be that keen on me showing you these, if I'm totally honest, but I think they're worth seeing. He never exhibited these, never sold any pieces. They were just done for his own pleasure. And he did love doing them. And he loved to ships, there's quite a few. I've only got a handful. My mom's obviously got some, some of my uncles and other family members have also have See, he was quite prolific. And this was probably one of the later pieces he did. A little more in my style, I'd have probably said, a lot looser. I think this was Ink if I rightly remember, a little cottage that was close to us, not far away from us, again, I can recognize the scene. Um, So, yes, that's kind of where I got my love for watercolor from we used to paint together as when I was a kid, but we only ever did landscapes. We never did animals. It was my sort of thing to paint animals. So I do remember him saying I should do lots of pentel sketches. And he said to me, You need to put some color on those. So I did. And here we are now. So, yes, I hope you found this a little bit interesting. It's quite nice to know where your, you know, people's where you've come from, isn't it and how you progressed through to get to the point you're at. But anyway, let's go and do those little landscapes. And yeah, like I say, I'm going to just say it again, enjoy them, have fun, be light hearted, and don't take them too seriously. 4. Mountain View Part One: Right. First things first, let's pop. I've just got this very scrappy mount. So a little bit marked, but it's great for just drawing inside. You see, I've splattered and done marks already on it. I do tend to go through these little mounts, doing silly things like this. Right, let's lift that away, and then I've got my little window to work with. Um, try to keep the pencil marks as light as you can. It's just something to guide you to work within, but try and keep them nice and light, yeah, you could, in theory, mount it and just go, Oh, it would have worked just a little bit more to the, a few inches or sort, centimeters to the left or right. So if you can keep the pencil marks nice and light, then you can do that, 'cause it's sometimes quite hard to rub any pencil marks out if you've got a lovely bit of sky here and you can't. So, yes, keep your pencil marks nice and light. Alright. Oh, actually, Bee. Do any more. Let's put a little horizon line in here. Again, Petlmrks nice and light. Yep, perfect. We're going to big brush. I want a nice big sky, so that's why I've left a nice, big expanse. So big brush. It's a nice round, gentle brush. It's not going to sort of mark any of the paper. It'll just be nice and light. I was finding. I was doing these practice pieces, and I was using this brush to wet the area down. And I was doing the sky, and I was leaving marks. I'm like, Where have they come from? I think I was just scrubbing with that brush, so it just goes to show. You're always learning, aren't you, eh? So, this one's a lovely soft brush so I can apply the water. Nice and softly. Again, make sure you don't have any dry patches, 'cause you don't want to have this lovely sweep of sky, then fine, you've left a little dry patch in it'll run round it and it look quite odd for this sky. And go outside the box so make sure you're wet right outside. A good couple of inches, I'd have said. Okay, once it's nice and wet, make sure it is nice and wet if you're walking or working in a warm environment to make sure it hasn't dried on you or left you a little bit, um starting to dry in one corner or something, you want it ugly and wet. Okay, I'm gonna pop that one down. I'm gonna pick up my normal brush, one I've probably come more confident with. This one holds a little bit too much water. And if I start adding, it just needs, don't have a very exorbent brush that holds a lot of water for this. So I've got normal brush. Indigo. And we're going to make sure now you apply this paint outside that pencil mark. Nice and bold come around the corner, so we're just doing like a corner. Don't worry, it's gonna run exactly what you want. And then fairly swiftly, once you've done I go and give it a nice tilt and allow it to run. Now, mine's not really moving quite enough, so quite quickly, I can add a little bit more water. Do this really swiftly, though. Don't hang around if it's 'cause you can find it, it gets a little bit too streaky. I hope you can see that. It's not. And just allow it to be, see how it's going. Say we're just every single one will be different. You can apply exactly the same method. They're all going to be slightly different, and you just have to work with it. The biggest thing is not to overfddle or try to definitely don't add paint in the middle. If you let me do it a little bit. Just about time now. I'm gonna put a little bit down here, see if I can just make that a little bit more there. But you really don't once that started running, you really want to leave. And we'll wet down just a little bit further down here, what this is going to do is going to run and then run along. So I don't want it sort of although we're going to put some mountains above, I want to keep that running beautifully. Right, I have got because these papers are really thin, it's gorgeous, and I'm really enjoying using it for these landscapes, but it's quite it's only 90 pounds, so it buckles a little bit. I've just got a little heavier piece of backing board, actually. So I've just popped that on there, and it will help it hope it will prevent it from buckling on me. And I'm just going to leave it at a tilt. Now, however you've tilted it, allow it to dry on that tilt and try not to move it too much because it will go. Don't lift it up and try and see what you've got. Just leave it in the position it was in once when you applied that paint. Now, mine, I like how that's moving. That's going to think it's actually gonna give me a nice look, but if it's got a little stuck down here, yours, you can wet a bit further outside that box and then pull not pulling, but you're just giving more adding more water here for this paint to then run into. I hope that makes sense. I'm glad they a bit more down there. I don't really want much more, but hopefully that will guide you if you've got a little stuck with that. And you just need to let this dry. Don't move it. Definitely don't add any more paint at this stage. If this one didn't work out, have another bash. Grab another bit of paper, do exactly the same. Be light and free and just treat this as a bit of fun. It's a The lighter and the carefree you can be, the better the result. I know it's a little scarier when you first start adding this water and paint and letting it be, but it's really fun. Once you get into the swing of it, you'll love it. Oh, and while you're watching it dry, like I'm watching it dry, I know we quite often use a hair dryer on pieces. I would be reluctant to do that until the very end. So let it almost dry. And if you need to sort of finish it off the way it, it's a little bit cold still, but it looks like it's dry, but you can feel it's just a bit damp. That's an ideal time to hair dry. This is still damp. And if I put a hair dry over it, I really risk just changing how that's running. If I put a head drove over here, this little streak here could end up dipping. So it's probably more important to give it a little bit longer than you normally would on the animals. 5. Mountain View Part Two: So how's yours dried? Are you pleased with it? It's always worth sticking, you say, if you've got your mount, stick your mount over it, then you can kind of get an impression of what your sky looks. And if you have done several, then just pick your favorite and then carry on. So I'm going to pick up that big Muppa mop brush. Not quite a mop brush, but it's very soft, and I'm going to wet up to that horizon line we popped in. Outside the box again. Nice and wet. It doesn't matter as much if you have some dry patches, but personally? I quite like it all wet. Now, if you've whizzed a hair dry over it like I did just to finish it off, don't forget the paper can warm on you a little bit. And so then it obviously dries the Dries the water. Right. That's nice and wet. I'm going to pick up. I'll put mysepia and indigo, and we're going to work on this left hand corner. Left and rights we never my strong point. And I put a good amount of paint on my brush, and I'm going to add the paint. Come here a little bit of sepia, go work away along here. Just really loving, gentle and work with what gets given to you. If something happens, it's not quite what I'm doing, but you like, go with the flow. This is When I first thought about doing this class, I'm just going to do them and see how they work out. And we're gonna work our way with what we're given, it just gets a little bit a little bit hard to try and teach that. But, yes, it's a very free flow, um like imaginary piece, isn't it? You know, this could be anything. We're not following a reference photo, so if you get something you like, and it's given maybe it's reminded you of somewhere. Um, I think this is what's so lovely, so it's just working with how the paint's forming and flowing. The biggest thing is just just not to fiddle too much. So I'm wanting to try and get another like a it could be a hedgerow. It could be just a line of little shrubs running down here. We bushes, probably not shrubs. It's a bit gardenly term, isn't it? This is falling down here. I'm just gonna leave that. That might form something pretty. Again, it's always worth taking your brush away. Having a little having a little glance, see what you think gonna pop a little bit of orange in there. I just like to that when I did some of the practice pieces. Very gentle. Say, have a little look. Let's pop a little bit. Orange in here as well. I'm going to give it a tilt. See if we can make something change or appear. I can see. It's got a little dry here. See where it's going round for some reason, thought I'd wet it all down. See how it's running. You can always being bold, I can just drop a little bit of water in there. I let that run. Magic, isn't it? Pop that down for a minute. Shall I pop it in a Where's my board. Crap from down in the floor. That's gonna put that molting board underneath it, and then just gonna give it a little tilt. I'm gonna let that be for a minute. I just want to get rid of that. It's a little bit pubby there. Avoid any spots. Quinacodme does leave little spots. I can see there's, like, a watermark coming in here, but I'm gonna leave that. I'm gonna see how that forms. I'm gonna we're gonna start on the mound one, I'm gonna start on the mountains. Uh towels disappeared off the desk. I got my Indigo, and I probably will only use indigo. Just causes mountains, I say, the mountains need to look like they're receding and they're bluer mountains. And I'm going to leave a tiny white line all the way along. So I'm gonna paint that in first. What I don't really want is the mountain color running into that horizon. It wouldn't matter again it could form you something really beautiful. Who knows? We'll join it up in a minute, but let's get the mountains in first. Now, again, the mountains are make belief. But if you've got a mountain range near you or a hill line you particularly like, then you could pop that in. Other than that, just make it up, see how there's a drip just gone there, hasn't it? Well, like I say, let it be there's a good that'd be a good reason a reason a good experiment to see if that Works. I think it ran off the top of my brush. I did do a piece a long time ago, one of these little landscapes, and I did exactly that, and it's still one of my favorite pieces. So don't get disheartened if something's dropped like that. Let it be, I might create you something beautiful. I've got a bit distracted now. My mounting lines gone a bit weird. Just trying to smooth that out a little bit. Bop another one in there. Behind the back there. No idea where this is. That's what's so fun about this. Say, take take your brush away, have a little look. See what you think. I'm gonna pop a little bit of sepia. Hang on to that indigo. I don't really want to add the orange onto the mountains, but I will put. You'll said a little something along here. Could be some tree line coming in here on the shoreline. I'm measuring this as a little little shore. Um, it wouldn't be a river, would it, but just something along the edge there, bottom of those mountains. Again, take your brush away. Have a look. Not sure if my little blobs of water have done anything actually there. I thought they were going to give us something really weird. I'll give you something really odd. I'm liking that, actually. I think that looks alright. I'm going to put might put a little bit more strength here. Could be risky, but let's have a go. Gonna have put the orange in there. It's quite strong. I need to make sure my paint brush isn't wet. I really want to add too much more water in there. So the paint is quite thick. I've taken straight out of the tube. Pop a little bit in there, say, it's just bloom's it's got a nice sense of it's just a nice wetness there. You see that's blooming quite prettily. What I'm going to do, I'm just going to very gently join up just a little bit. Now I'll make sure I'm gonna clean a bush and make sure I've taken the excess moisture off because I don't want to do what I have done there and dropped a lot of water there or added too much water. Just joining some of that up to this foreground horizon and the mountain horizon line. That makes sense. I'm just putting a little paint between those that white line ready. You might get a funny little bloom, who knows? So they should be at the stage where they're not soaking wet now. I like that. I think it's done right. The only thing I don't like it actually plop there. So get rid of that. That's Quin acre doom. Cold, leaving little marks. You know what? A little like the animals, you'll get to tricky stage. Bits starting to dry, bit this is almost dry. This is quite wet. This is probably starting to go off where. It's not useful to add any color now. It's going to give you something too. It's gonna be quite sticky and won't move. So I'm going to down brushes, and I'm gonna leave that and see how it dries. Like I said, they're all gonna be slightly different. And as they drive, you've got a lot of water, you've done an accidental sloge like mine, it will form and change the landscape until it's completely dry. So yeah, have the courage to pop that color down and just leave. So how do you do it mountain landscape workout once it completely dried? I'm quite pleased with mine. Mountains probably a little touch washed out here, but it could be a misty day. You know, I can see um you know, this could be some mists sitting on there on the banks, and bizarrely, I seem to have got myself a snowcap mountain there. But I think this is a joy them 'cause you let them dry and you're like, Oh, I see that. Oh, that's I just conjures up something in your imagination. And actually, my drop of water accidentally fell off my brush hasn't really done anything. I thought that was going to create something quite unusual. But yeah, I quite like the colour and the light there. So I hope you're pleased with your little piece. 6. Church View Part One: Right. Let's pop that little mount on a piece of paper, and we're just going to go inside just to give us that little window to paint within. G keep your petal marks lovely and light. And put that little horizon line in there somewhere about a quarter way down two way down. Just about there. Right. I put the pencil to one side. I have got that little mounting board underneath. It just helps my very flimsy piece of paper to give a little bit of support so it doesn't buckle so much. Right. Big brush. We're gonna wet down the entire little square. And wet outside this box, as well. So nice and wet, nice and gentle. No scrubbing. Keep it lovely and light and make sure you don't have any dry patches. Want this to be lovely and wet. Beautiful. Okay, I'm gonna pop this on a little tilt to start with before you even start, so it's under there. Lovely. Gonna pop that down. Let's get that out of the way for a minute. I don't really need it. And I've got my side ten brush, and we're just going to do the sky first. So I'm picking up my indigo and the orange. So I'm gonna have the indigo at the top and the orange at the bottom. So I'm gonna tap outside that box and make sure you go outside it. If you don't want to be left with sort of tappy marks, you'll see what I mean in a minute. So make sure you just tap outside. Good amount, 'cause it's got to go all the way down here in a minute. Don't worry it's gonna flow, so don't worry about that it. Clean your brush, and then we're going to go back in with the orange. Same thing, next to it. Give it a good old tap. Say, the orange has got to go a little way down as well, so be fairly bold. Okay, I'm going to give this a good old tilt now, and I'm going to add some water. So I'm adding water again outside that box, and I'm allowing it all to run. Keep tapping. Even be careful. You can add water in the middle, but be careful you don't tap and leave marks, that's the risk or add too much paint. It can get sort of spotty then. And you can then, if it's not running very much, either add more water here, where we started from or you can wet a little bit further down, and just this then gives the paint a bit more room to move into. If I can lay it flat again, I might add just a tiny little bit of orange. I know, Risky. Just a little it up there and allow that to run. These are quite scary. I must admit these have got me out of my comfort zone, but I have loved doing them. It's the I never know what I'm gonna get kind of thing. Scary, but fun. So take it as a light hearted, scary, but fun little exercise, and you will I think you'll love what you get. So I've always just put a little bit indigo there. Hope you saw that. And give him a little bit of, you know, if it's looking a little bit, not doing much. You can give you tilt it on different angles. I think I'm going to allow that to sit, and I'm also going to put a little bit of salt. I'm gonna sprinkle that. No idea where anywhere you want. Doesn't matter. Vab, and just leave it. And we need to move on fairly swiftly to the ground. Indigo again, I'm going to have the orange. Same thing again. Let's do. Let's do the indigo first, and then pop up a little bit of orange on top.'s have a little bit in to go down here. I have a touch of sepew in here, as well. Again, same thing. Just go to tilt. Tilt and add some water. Don't worry that blooms up into the sky. Honestly, don't worry. Just keep adding water to here. Let's have a have a little bit more orange here. Go if you got instinct. If he hasn't got enough, add a little bit more. If you put a big sort of a load of water there. It's only water. There's no paint on there. And just keep adding that, that'll give you a real streak. Give it nice. That'll be a lovely sense of light once that dries. So just add a load of water there. Again, you can do the same that we did for the sky. You can wet further down outside that box and encourage that to run a bit more. I need a little bit more. It's getting a little bit washed out. Let's do the indigo and the orange again. And the outside. And then, again, let's sa and water. It's still wet here, and I know I can sort of carry on playing with a little bit. How's it looking? Sometimes you just need to stop for a minute and have a little look. Let's put a little bit. Let's put a bit more to go there. A little bit more up there. If you've got something that you like and I'm still fiddling, then let yours be. Have the courage to go. No, I like that. She's still fiddling, but I'm gonna leave mine. I like what I've got. So yeah, have the courage and put a bit more water there. Right. I'm gonna allow that just to sit still a little bit rested on it. So it's still carrying on a bit of a tilt. But I'm going to put a little horizon line here, and it needs to be damp still. So I'm just having a little look. This is probably ready because I've had it on a tilt, so this is going to be dry. So I'm gonna start it. It needs to be at that lovely point where everything just blend very softly. You don't want it running. I'm just going to put a bit more salt in this guy. I don't know if he's washed off or fallen away. I just put a bit more salt there. Yeah, that's probably better. Right, I'm going to have a go and start on that horizon. I've got my little brush it was off camera. I'm going to use the Sepia, remember, the SP is a nice sticky color, but I will use a little bit of indigo, as well, but I'm going to start with the Sepia because that doesn't move too much, and it should give me a nice soft blend. Yes, just about right. Now, be careful. You haven't got water sitting on top of your tube if you're working out of tubes, or if you're in pans, make sure you get a good consistency. This needs to be quite sticky. Go working on the horizon, really, just tapping. And again, take your bush away, have a little look. I can always put a little bit of gold there if I want. I just want these the little fluffy hedge line, tree line. That's all I want to do. Say, if it's moving a little bit too quick, you're like, Oh, no, it's going too far, give it, eh sometimes it's just 30 seconds. It might be enough. This is still quite wet, so I'm gonna hang on a minute. And a little bit more sepioh if I can slow that down. And just let this blend and bleed and form. You can't try and stop it. Well, you can, but it won't I won't give you anything. Nice. It will just look like you put your brush in and tried to pull it down. So you've just got to put it down and allow and remember that it dries lighter and it will dry differently than you're looking at it now. So part of the fun. Let's see how we're doing down here. Yeah, not bad, actually. That's pop a little bit of indigo. And sepia Take the brush away. You know what I'm gonna say? See what you think. I think because I got this on a slight tilt, you can almost see. Yes, you kind of got a little bit of wind going on there. It's just pushing over because it's on a tilt. When I was planning these classes, there were so many landscapes I kept seeing and thinking, Oh, I must do that. I want to do that one. How about that? How if I capture that. And it really kind of ignites your sense of intrigue in some ways, and how you can manipulate watercolor and how you can do different things with it. I know I love my animals, and it always will be my animals I love, but these are these are fun, if a little scary. I go to do something really really risky. I'm going to put a little bit of water here. It's gonna give me quite an obvious line, but I want to see if I can get a real streak here. So I'm just again, I'm tapping outside. You might have wanted to do this, so you might want to just watch and see what I've done, and you might go, I'm glad I didn't do that. That didn't go very well for her. Look at that. So I get lost in them. Just put. The minute you see something you like, it's doing something interesting, then always put it down. Got a little bit of salt here, haven't I? I see crystal salt. That's ideal there, but I'm sure I can get that out very, I think I'm gonna make that worse. Right, I'm just gonna allow that to dry, I think. I don't think I can do a lot else. Well, I'll tell you what I will do, actually. It's quite a little bit flat. I might see if I can raise this up a little bit. Give a little bit more forgot a little bit of sepia and the gold. See if I can get that to that's better. I was looking a little bit bit something of nothing, as they say. Right, as ever, there's always going to be a fiddling point where you're not going to improve things. So I think I'm probably there, but I am going to allow that to dry on, on that tilt there, it's probably about an inch high. I might. As I watch it, I might give it a little bit more of a the tilt so I quite like that salt to do something. I'm not sure if it's looking like it's going to do I don't get any very exciting, but I've got some other pieces I can show you that where the salt worked a little bit better. Yeah, I think that might be quite interesting. But obviously, be aware if you put that on the tilt for the sky and the ground, you're obviously going to affect how these trees are forming as well. So I might take my own advice. I might just drop that down again, just to that inch high. Yeah, and just go to allow that to dry. But, you know, where far as hair dryers are concerned, um, be careful not to do it too soon and dry these too soon. A hair dryer has seemed to have more effect on these landscapes than on the animals. So I would have probably I might have even started hair drying this if it was an animal, but these need to dry almost completely on their own. So you're just using it just to finish it off and you touch the paper and it just feels a bit cool. That's probably the good time to put the hair dry over it. Other than I would just allow it to dry on its own sweet time. 7. Church View Part Two: But so how's yours looked now that it's completely dry? Quite like mine. Little washed out, maybe, I'm probably not quite as bold when I'm doing the teaching, trying to talking and adding colors. Right, I'm going to rub that salt out, but, again with the salt, make sure it's nice and dry. But it's definitely give me a little subtle subtle um clouds. Very, very wispy. I will show you. Well, this is the other little piece. Practice beet. You can see the sky's got a little bit more dramatic. We put amount round it. It's always nicer. These are always so much better with a little mount. Um, so it depends a little bit. Now, where you want to go with this. I'm going to try and put a little church. Buildings aren't my strong point. I'm going to confess now, but I will endeavor to do a little church in there. Again, if you want to you could do any buildings, it could be your home in there. It could be your favorite barn that you see on a walk. And the foreground, again, you might like that. You may not like it. I will put it in because then you can kind of see what it looks like, but if you've got a piece that you're pleased with that doesn't have the foreground in it. Let me pop a little amount around that cause it always looks better with amount. So even that's very soft. It's very subtle. It's very mindful, isn't it? Very zen. From a distance, I think that would look she said from a distance, something sarcastic, my husband would say, it's very soft and quite pretty. But I would say, I will add to it. Let me take that away and we pop that flat. I will show you some little tinkers that would even just improve if you want to leave it at that that would help. So with your little brush, you can take little little tiny bits of colour out, just to give you a little line. Don't want to go all way along. It's just a tiny touch touch touch of color out. I would just probably take it out with a brush rather than kitchen roll. I'd give it again a little squidg of your finger. Again, it applies to this side. Obviously, it depends on how your paint's formed and how it's looking. Always choose your part where you'd like to take some color out. Reckon I've got quite a lot of paint here. But you can see even just taking that out gives a little bit for the eye to see that little chink of light. And that baby, all you want to do, you could put some little birds in. Uh, let me find a pencil 'cause I'm not gonna be brave enough to do it with a paintbrush, but but they're quite good doing it with a little pencil 'cause you can kind of rub them out. But yeah, just little Ms. Just something like that. Um, you just got a little few little birds in the sky. So you could choose to do that and then just leave it like that. So you've got, I say, quite a very gentle, restful piece. But let's let me try and ruin it completely by putting her little church in it. Why? A little piece to look at, see if I can I can kind of create that. So I'm trying to see where I'd put my little church. Let me pop it up here. I'm gonna hide it right behind the back of the trees. So I've got a little bit of sepia. Let's start with this deep. I'm gonna go out for the top of the roof. Gonna whip it down. Come down. It may be all I need. You can get a little bit carried away. We're trying to make the detail. But from a distance, you would probably just see, a little bit of steeple, just an idea of the roof. Take a little bit of light out in a minute. How's that look? Or does it look like a ship that's just sunk into the tree line? I get it. Yeah, that's not too bad. For me in buildings. I'm gonna take a little bit of light out just so it looks like there's light hitting that one side of this depot. Little door there. Visible. Okay, I'm going to leave it there, 'cause it's probably as good as I'm going to get, especially I'm trying to teach it, as well. So you get the general idea. So the little foreground again, this would be up to you whether you want to do the foreground, but I'm going to just wet. An area. Gonna dip it down. Again, you can let's do it to a little more to one size, so the dips not right in the middle. I hope you can see that. So it's kind of dipping up here, coming up here. And then, again, just outside that box. It's really important to say outside that box you can see where those little marks are where we've added the paint. So let's let's keep it a little bit softer. I'm gonna use the sepia and the craacrodme, those two colors for the time being and just dab them at the bottom. Probably left the dry patch there. You can see that quite clearly, can't you fill that in. What Or just take your brush away. I have a look. Let's pick up the indigo saying I wasn't gonna use Indigo. I have a little bit of indigo in there, though. I can do some sort of flicks off here, little bits of grass. Bit more strength there. Again, I can do the tilty bit, if I want. Let's put those down why spill the paint to cost my painting. Give it a little swirl around careful swirling too much because it can all just end up being, you just mix it up. Yeah, that's quite nice, isn't it? Again, you can what we were doing doing a few let's go to my little brush, and do a few little glassy bits. You can have your finger. You can kind of do some squidgy bits. Kinda get a sense of sort of, you know, I gonna say shrubs. Shrubs one word, isn't it? Bush. I should know, shouldn't? Of course, it could be all sorts of things. And again, it's put cse down, you've got the kitchen roll. Again, you can just give that a little you want to lose that a little bit just gently. You don't want to sort of take any color out. Well, you don't want to, you know, lose too much. Leave too much of a line, I'm trying to say. I think that looks alright. Again, fingernails great. I love a fingernail. Do sort of scratchy marks there. I think I'm going to leave it at that. I just want to try and avoid that water line that's gonna warm if I'm not careful, so as that dries, I'm just gonna keep an eye on that. Yeah, I think that looks quite sweet. I'm just going to wit rid of those little blobers of paint. I think that's right. It's not bad. As you can do. I'm pondering, completely ruin it, but you can a little bit of colour from here. Just do a little bit of a sweep across here at work. A little just a bit of texture. Right. I think I need to stop. I can see I'm going to ruin it, but as that dries, I'll just say I want to try and stop that line being too defined. So just as it dries, I'm just going to keep an eye on that and just take that little bit of water line out. But, yeah, I just need to allow it to dry, really. So, how's yours looked now that it's drying? Let me put my little mount round mine. Yeah, I think that's quite sweet. I am tempted in the spirit of adventure and all that, to put the tiniest little hill line in the background. Shall I do it? Let's do it. Let's just go for it. So with a little bit of indigo, I seem to have lost my bit of kitchen oil, a very damp piece. A really small bot of indigo. I might even use just the color that sat around the rim and really gently. I'm nervous to do it, no. Um, just put a little mountain line mountains probably just a little hill line, isn't it? Yeah, not do any more than that. I disguise my church behind the hill. Yeah. That looks okay. Put a little mount around that. Again, Yeah, you can see how that's built up, can't you? Um, you may have just left it that really lovely, simple, sort of calm little landscape we had, or you might have done what I've done and added to it, but they're fun. So yeah, I hope you enjoyed this little one. Yeah, I'm quite pleased with that now quite a lot of my little birds. 8. Lakeside Trees Part One: Right. Let's pop this. It'll mount down again so we can draw inside. Same rules apply, nice and light. So I'm almost letting my pencil just fall on the paper. And I will put that little horizon line in. Same sort of place again. Such as there. Lovely. Pop that to one side. I can get rid of my pencil, and we're just going to wet this top section down. So back to my nice big brush again, write it down. And again, I'm going to start along that horizon line just so I can make sure it's nice and crisp. And then back fill it. Again, same thing. You want to wet outside that box. Good inch. And then make sure it's all nice and wet. It's just the way my lights falling here. I can see it really clearly, but quite often, you can't, so just duck your head up and down if you can't and make sure it's nice. And Whit. Lovely. Put that one down. I'm going to just use the radone gold and the sepia. I have my little smaller brush again. And I'm going to make it a little heavier kind of on the left hand side, it's hail off. So let's put those colors on at the same time. I'm simply going to place it along that horizon line and hope the magic works. I just want it just gently spread. It's gonna give me that tree line at the back. We've got silver birches here in the UK. And at certain times of year, they just get this sort of haze of color. That's kind of what I'm envisaging. I might have one a little heavier here. It doesn't matter too much. All right. Always with his landscape, more than ever, it is not to fiddle. But what I'm going to do is just to give it a little bit of a tilt. I've got that you see slide a board underneath just to help my very thin paper. Um, stop it buckling. Okay, it's not moving a huge amount, so what I'm going to do, actually going to pop some little bits of water in here. One that will create, give me some movement, and two, it actually create some hopefully, little stems or trunks of silver birch. So goes the theory. So I can whiz it up. I can also obviously tilt it the other way, let that run back down. Just until I get something I like, really. The thing is just not to interfere with the brush too much, really? It's just to give it a little tilt. Let gravity and the paint, all that lovely granulation to create you something lovely. And obviously, the texture of the paper will give you something if you tilt. I'm quite liking what I've got there, I think. So I'm gonna pop that down. Yeah, just having a little look from a distance. Oh, I think that's okay. Um, now it's just got to dry, really. Same thing. Just allow it to dry at its own time. Pop a hair dryer once it begins to go off, and then we can do the next little bit. 9. Lakeside Trees Part Two: So once that's dry, we're going to just very, very lightly sketching these trees. So they go. Again, it's just my imagination, so there's no no reference photo. Sorry. So you may have a scene that you particularly like like, Oh, I'd like to capture those. Actually, they would be really lovely those trees. So do those. But I'm going to do these kind of three here. Coming down here and I've got another one that comes in, kind of crosses across this one. Probably behind. That's not a very good behind bit, is it? Let's get rid of it. I'm losing myself now. It comes into somewhere here, doesn't it not that's better. And then, again, that bank. I'm gonna whizzle it right out here. Hopefully you can kind of make that out. Now, what we do need to do, obviously, we've got the horizon sitting in the monks the middle of the trees, so I need to kind of just get rid of that as much as I can, just to soften it. What is very tricky to try and do this horizon line and get that lovely gentle sort of wash. Um, without going all the way along, if I was just wet it up to here and then just allow, on that first layer, just allow the paint to run, obviously, we wouldn't get any here. So it's just easier to actually take the horizon line out afterwards. At least that's what I found. Give me a good old scrub. Hopefully you haven't got anything too, um, prominent there. Obviously, you know, we will be painting these trees, so as long as we make them with a little bit of strength, that will be absolutely fine, hopefully. Well, I'm going to do two back ones first. And I just simply gonna follow my pencil mark. I'm gonna do both of them at the same time. It doesn't matter if they run into one another. It's that little dip top up there, isn't it? Run it into just run it to the bottom at the moment. Okay, play rules, ly and wet, and I'm going to pick up. So I'm gonna have all three painting my hand at the same time. Why not? Suck that one up. How do I get through a class without finding a dog hair somewhere attached to something? I can see it. Oh, that's it. Alright. I'm simply boldly going to had all three colors on my brush at the same time. I'm just going to whizz that down that right hand edge. Ideally, I probably wanted a little bit more of the blue 'cause it's furthest away somehow in my mind, anyway. It's a little bit cooler sitting right at the back, isn't it? Come right down a little bit more sepier I think now for me. We have some little nobbles coming out. I was quite fun. Do some little branches. Gain if you've done simple trees, very similar. Very similar. Gain coming to the next one along. I think that one ended up, it's not bad actually. They'll say a little bit orange, so I'll go a little mix up just to have the indigo and sepia, but actually, I quite like quite like the little bit of orange in there as well. So there's a bit of orange in there. Make sure you go right up against that front tree. I get the top. Looks like it. It looks like it's dried there. Maybe I didn't actually wet it down. I can't remember now. I can pull off off the top. I can do the same with this, just to draw some of that color up because in theory, this will be outside our mount at this stage. And the minute as ever, the minute you get something that looks nice, then stop. Again, it's so easy to overfiddle these. Okay. Okay, and then we're going to with the bank, run this down as well. Allow that color from those trunks to run down. I'll probably end up with two layers, so don't worry about putting color down here at the moment. Just allow the color from those trunks to run down into the ground. Again, just have a little look. While that's still wet, you can add a little bit more if you want at any stage, but just like I say, be careful because it's so easy to over fiddle and you lose that lovely sense of kind of spontaneity and magic, which comes from just putting that paint down and leaving it. But it's um be hard, can't it? 'Cause you just want to fiddle a little bit more 'cause that's what we want to do. Right. Let's leave that for a minute. It just needs to dry, if I'm honest, to do that back one, sorry, the front one we obviously do the front one now, that's gonna merge, and it's quite nice we make that quite distinctive. That's in front of these two behind. So again, just allow that to dry. 10. Lakeside Trees Part Three: Okay, doke. Once those two back trees are dry, we're going to wet the one. Gonna use my big brush again. Gonna wet. You can touch this trunk that's coming behind to make sure you don't leave any white lines. You don't want them. You don't want to have a little dry line to touch that. And if it gently blends or bleeds from the other trunk, don't worry. And then we're going to come to the bottom here again. Alright, let's get rid of that one. Just hold too much water. It's lovely for wetting stuff down, but a little too extravagant with the water it holds. Okay, three bushes, three painting my hand at the same time. And again, just gonna touch. I've got a bit of orange here, so I don't really want to put too much orange on that little segment there. So I might go a little bit spree here. Way down. You can kind of squiset some of it to the front. But, I say, just take your hand away. Oh, bosh, hand, have a little look. Always, the minute you've got something you like, then leave it. It's nice to have quite a nice little lump of light on the front of this one because I'm visualizing sort of kind of peering through some trees, and I can see the light hitting this front one. So if you got that I'm quite pleased with how that light sitting there. Obviously, some of this paint can creep forward, as well, so I think I'm going to leave it at that. And then we're going to wet pop those down for a second. I'm going to wit that ground. Now, if you can hold your brush right at the right on the sort of side here, you can see there's a little white patch there, where it's you know, obviously was a dry piece of paper there. So it's quite nice. It gives a little bit more texture and interest. If I do this, and obviously you can't plan it. You can't plan where those little dry patches are gonna end up, but give it a little with scrub, and hopefully you'll end up with something. It's always a way, isn't it when you don't want them? You'll find them, and when you do want them, you find you haven't left with any. Right. Did a little bit more paint. Let's, uh, strengthen that back area up. I'm a little bit cool to colours and want to put the orange there. You got a dry patch there, 'cause that's not moving. Let's move. Now I can do some flick and some grass. It's coming up. Switching my little smaller buses getting too chunky. Again, all these little bits, if you don't like fancy little bits of grass and obviously don't put them in, it's up to you. And we'll put some salt here, as well, so I actually might put a little bit of colour here just so the salt can actually work. A little bit of swap of bushes, that's too small. Put a little bit of orange down here. Top. I can sweep that out. Right. He's put that soap down before that dries. Ooh by not. I can see. Oops. What I haven't done. I've penciled this marking here, haven't I for the trunk? No, I haven't. As you know, paint's got there. It's a tiny bit of sepia there. That can look a little od otherwise. A tiny bit of grass here as well. I can visualize a little animal standing here. I'm not going to, and I'm sure some of you might, but I can I don't know if you've done the bunny class that I did one Easter. It was not dissimilar to the big trunks when we put some rabbits there, so I can see that see a little animal staring out. Alright, let's put that salt in there. Almost left it a little bit too late. I see it's beginning to dry. So Cop it down anyway. Lovely. Just a quick access. You see this. I've left a little bit of a B you haven't got this quite high enough, well that's still a little bit damp. And I think any sort of water marks on the ground or anything little bit like this is absolutely fine. So you can kind of get away with moving things around a touch. Just a tiny bit. Gone a little bit. Blue. Let's have let's round. This will probably make you laugh. So I did. This is the second go at this. And when I showed Ben my husband and your lovely editor that edits all the videoing, you look at the first one and it's like, Oh, I'm not sure about that. And sort of chatted over. He said, I think I can do better than that. So you nearly had You Nearly had him demonstrating this class at one point. Right. I think that's looking quite pretty, actually. Again, I've just got to let that dry. I'm not gonna put any bowels out. You can do. I did on a couple of my practice pieces. I just wasn't sure. I've got a few little twigs there, or bowels, shall I say. So, again, it's something you could put in, but I'm not going to. So, just let that dry. 11. Lakeside Trees Part Four: Okay, so once nice and dry, I'm just going to leave the salt on there for a little bit longer in case it's a little damp underneath there. I think I'll put that on probably about a minute two later. You can see it's gone a little spotty, but never mind. Right. Big brush. And we're going to just create a little bit of sense of water here. Need to go inside here a little bit fiddly. And see out that side, as well. Very light. I'm just gonna put this tiniest amount, just a tiny, tiny, tiny bit of orange. One of my lovely practice pieces, I think I must have dropped a bobble of water right at the end. It just created this lovely watermark. You know, some things are like, Oh, that was so lovely. It's so hard to recreate these sort of things. That's a little bit too much. This is using that big brush I put that away. I remember a bit just a tiny, tiny little bits. So gate up, same ink in you can drag some of that out. You can give it a tilt. Put just a tiny, tiny, little bit of colour right underneath this horizon line. Just a diddly bit, just to give a little bit of something there. Maybe impression of some shadows falling. Put a little bit of indigo there. Go take brush away. I have a little peek. Yeah, I think looking right. Let's see if I can create this watermark. Probably not. I think it was a big drop fell on that practice piece. Yeah, I think that's okay, though. Right. Now, in theory, you could almost leave it there. Let me find that little mount. So you can see a very small, sort of restful piece. I think we're going to put well, we're going to put pop a canopy up there as well. But again, all these stages, the landscapes, you could go, I really like what I've got here. I'm not sure if I want to make that any more fussy. I like the simplicity of it. So yeah, you can always leave it as you at any point, do you think I've done enough? Right, I'm just going to pop a few little idea and twisted trees in the back here. Today I'm just using the color that's on that bottom of that horizon line. Wiggle them up. Not gonna do too much detail. It's just impression there's probably something back there. Probably enough, actually. And you can put some on the other side, so we're not missing out again. Same thing. Once you take your brush away and you're like, Oh, no, it's enough. 'Cause you can definitely overdo these things. Yeah, that looks okay. Right. Well, we'll do that canopy because why not? But like I say, if you're happy at this stage and you like what you've got, then or see just leave it, but we are going to wet down. A good old chunk. Doesn't matter too much. We're gonna go over the top of these, as well. Really gently. And then we're going to add. We'll keep holding this big brush actually for a minute 'cause stop things looking a bit spotty. Let's have the three colors. I want to work sort of further up because I want it to almost disappear down here. So we're just adding adding a little bit of the orange, kind of visualizing a little more autumy so you've got the autumn leaves coming in there, changing color. Bit of blue at times. Mix with the orange. Give a look green. That's probably got enough water going on there, and let's swap brushes again. A bit orange there. As I just keep assessing what you've got. I'm gonna sweep this down in a minute. I'm gonna wet that little edge and draw it down. But let's make sure we got enough color up here in the first place. And I will put some salt here, so I have to make sure I get that salt in at the right time. Now, I did ponder, again, like the other class, putting some cling film in here, so you could, you know, experiment with that idea. I won't because it just takes quite a long time to dry. It's another way of creating some nice interest. Alright, let's swap brush it again. As long as that's clean. I'm just gonna pour some of this down. Really gently. Pull it right the way down those tree lines. That should soften those lines as well, they flow a little hard. That should just gently blend down. Again, you can always give it a tiny little tilt to be careful. I've got a lot of water sitting here, haven't I? Um, careful it doesn't weeds too much. That should. As it gently move down, you may find you need a little bit more colour, so I should make sure I've got a bit of dry patch there. We need to pull these down in between. Is a good lot. Yeah, that's looking quite fun. Just had a tiny little bit more colour. It's always knowing when to stop with these, isn't it? Just go over that orange to stop those little spots. It's very spotty paint. If you're finding the same thing, it's nothing to do with you or your paper or how you're applying it, it's just that character that paint. Well, I think I'm probably there, actually. It's going to get a little bit overworked if I'm not careful. We'll just pull this out. So when I whip that paper, I'm encourage some of that to kind of move the top. Here, make sure I outside that mount, as well. As you pop bit of strength over the top of that. Front tree looks like some of the foliage is over the top. Spotty, isn't it? Put some salt over the top. Right. Let's stop fiddling. And I'm just gonna say, I'm gonna pop some little bit of salt. Oh over the top. I think I've managed drop some water in my salt pot. It's very sticky. Bab. Right. The only other thing I want to do. I just think if that's dry, probably just about Oh, yeah, that's just about right. I just want to put a little bit of, um, just, like, a little line little idea that there's kind of a ripple of water or something and draw some of those that shadowy line from those back trees as well. So I've just got a little bit of the indigo and the anacodme on my brush. Gonna say as randomly as you can, as I can. A nice sweep. Yeah. And then I'm going to just draw down that line where where we put those trees in the background, just pull some of them down. You don't want to go all the way, make it too kind of regimented and then just brush your your paintbrush over the top, so it looks like the water's sort of given it a little bit of a wiggle. You've just got an impression. Touch on the heavier side. I think every piece I've done practice these a few times. And there's always elements. So elements are obviously are better in this one than the other one. It's tying together, isn't it? Stop on those edges a little bit. Gone up against the My watermark didn't work either. My lovely watermark that I managed to create last time. Right, I think that is as much as I can do without it, Ln begin to overfddled. Um, I need to leave it put my brush down. I'm just gonna allow that to dry and see how that salt has worked, as well. So how is yours dried? I have to confess I had there was quite harsh indigo line there. I have to soften that while I was letting it dry. But, yeah, I just took the colour out and popped a tiny bit of orange in there and sort of swizzled it around, probably starting to overfiddle. It's looking a little bit overworked. But let me let's take some of that salt out make sure it's nice and dry. It seems to be really nice patterning. Lease that over to one side. I have. Right, any other thing we didn't do, actually, which could have been handier to have done a little bit sooner, don't rub any pencil marks out, but they can done now, just go gentle. If you've got some lovely patterning, go very gently. There's not many other pieces are there. A little bit down here, probably. I don't think you can any he I can't see my horizon lines. No, I think that's it. Let's pop a little mount over it. Yeah, I think that's quite sweet. As I say, it's always worth popping a mount over your finished piece because like I said, the other ones, you've got quite a lot of messiness outside of it. Once you put a little mount round, you quite often go, Oh, actually, quite like that. That's really nice. So yes, I'm pleased. And I hope you are too. 12. Mountain Top Part One: Alright, so again, weird little amount, we are just going to pencil inside. Gain? Same thing. Keep your pencil marks nice and light. Alla. And we're just gonna put very gently put that mountain line in somewhere, somewhere like that. Don't overthink this shape too much. I just come in somewhere like that. And then there's gonna be a back one behind it, something like that. Yeah, I think that looks alright. Right, and we're going to then wet This sky so nice and wet, and we're gonna go round the mountain line. And then we're going to back fill it nice and soft to try not to scrub make sure you haven't got any dry patches, so you just just bobble your head up and down. You'll be able to see if you've got anything that's dry. Make sure make sure it's lovely and wet inside. And you've gone outside that penciled mark, as well. I see a good inch because when we apply the paint, we don't want little blobs. In your sky, 'cause they will give you some rather nasty marks. Now, fairly quickly, 'cause you want this nice and wet and we want this indigo to be moving. So don't hang around at this stage. Pick up your indigo and go outside the box, make sure you go outside it. And we're going to add the color right along those corners. It should be moving inward. And if it's not, add a little bit more water, but Okay, I think I've got enough. Be fairly generous. And then brush, put it one side, and then again very quickly. I'm gonna give it a little swizzle around. Don't worry if you get a run like that. It's better to get these clouds nice and soft after a nice sort of sense of light in the middle when it's the clouds are moving in. Now, you can give it a little little blow. I've got a straw 'cause you'll want to see my head appearing, but I hope you get the gist. You can sort of blow those crowds around. I won't do any more I probably still got my head in the camera shot. So yeah, if it runs off like that, don't worry. Or if you find you're getting a little run, which I think you can see just wet a little bit further down. You can see how that draws that paint down. Equally, if it's moving in too much, you can then come out and wet out the box. That will encourage the paint out. Careful you don't have too much water. You put too much water in here, almost see that started to run, it can run back in and leave you funny marks. Okay, just keep swizzlingO the minute you got something you like, leave it, put it down and allow it to dry. Don't add any paint or any extra water at this stage. Just keep swizzling. It's better. If I'm honest, probably like I've mentioned some of the other classes. If it hasn't worked, it's better just to honestly pick up your piece of paper and start again. That's why I quite like having unstretched paper. It just feels a little bit. That one didn't work. I'm just going to go again. So it's better to that. You won't be able to rescue this if it's gone a little bit press by adding more paint and things. Right. I think you can kind of get the gist. I don't know how yours is obviously looking, but keep an eye on it. Use the, you know, being able to blow that pigment's quite a useful thing, and then just allow it to dry. 13. Mountain Top Part Two: Okay, I hope you've got something pleasing, and you can always put your little mouth around it just to go. Oh, yeah, not quite like what I got. That's right. So, you know, if you're then not happy with it, you have the option off to start again and do another sky. Or if you've done a multiples, just pop the mount over it and choose your favorite. Right, we are now going to wet a little section down, so we're gonna wet the top of the mountain. Down. Is a little part here. I'm gonna come actually gonna use that where that line of water ran from I'm just gonna use that as a sort of a guide, but just that sort of top section, so it's coming round. Don't worry too much Where Nice. It doesn't matter. Awfully. It's all all a mountain. It's rubble and snow and having to do animals and eyes and get things in the right shape, so it can be left a little bit to your imagination. So I've got sepia and, uh, the indigo, and I'm going to start at the very top. Now, I want to try and get this 'cause the snow snows going to be on the cooler side, and actually the rocks are going to be on the warmer side, if that makes sense, 'cause the sun in theory will have warmed things and got back to rocks. So I'm wondering if this is going to be the snowier side, I think, and this is gonna be the warmer side. So I'm just gonna add a nice bit of strength coming down here. Being a little bit warmer here. I'll obviously pick up the quinacidme. Cold, probably a little bit down there. Let whatever happens happen. Get a cooler colour there, 'cause in theory, like I said, wanted that to be a little bit cooler. Now, gonna put a little bit more paint here. I'm gonna now? S gonna use my bigger bush pick that up. And I'm going to very, fairly quickly sweep this down. Gonna gonna leave that little bit there for a minute. Now, if you get any dry patches, I think that's all part of the charm, so you don't have to go all the way up and fill all these little bits up equally. As you draw down, you can leave little dry patches. Any scraps scrapes with a dry brush, it's quite fun, as well. I think you're fine. You'll do this a few times I know when I've been practicing this, this was my favorite in some ways because everyone created something different, and the less I fiddled, the better it was, as with everything with watercolor. Right, a little bit of gold at the top here. I'm gonna give it a little swizzle this way, a bit of water there. I'm gonna allow that to run. And water droplets are great for creating sort of sort of snow effects and any water marks that happen are quite fun 'cause they do help create that sort of feeling of snow. Now, I might leave that there, actually. That's formed quite nicely, but I'm just gonna with my little brush, gonna put a tiny little bit more oof up here. Sepia and so like genuine. No, so like Gen? Indigo. Be careful not to fiddle. Just give that a little bit of wind rustle. Again, always just take your brush away, have a little look. How does it look? Pop up a little bit. I have Sepia just there along with gold on top. Just a little bit sepia there, just give that idea this rock sort of falling off that edge. Okay. Dutch or gold here, a little bit of a tilt for it. I've gone quiet. It's a concentration, isn't it? H. I'm gonna leave it there, 'cause I quite like what's happening. I'm also going to put a little bit of salt. Uh, let's have a little bit of salt along here. So I've salted quite a lot. So I haven't done as much salt. It depends how it's sort of formed, really. Also, if you're wanting to have different ideas, cling film might be quite fun, especially if you did this a little bit bigger. Trouble with Kling film is unless you can really scrunch that tiny, it leaves quite in theory, big bolder effect. But I think if you were to upscale this, a little bit of Kling film would be fun. Right, I'm going to allow that to simply dry and try my best as it dries, not to fiddle. 14. Mountain Top Part Three: Well, how is yours dried? Do you like? I quite like mine. I think it's worked out okay. Lost a bit of color here. So what I am going to try and do? Hopefully without ruining it, because I quite like the simplicity of it at the moment. I'm gonna put a tiny little bit of gold there. Lema brush. Touch the edge of it. I'm just gonna see if I can just do a little bit of almost, it's dry bashing, isn't it? Is it a little bit of cooling down. Take my brush away, have a little ponder, tiny bit of sepia and do the same. So brush is it's dry. Oh, damp. Yeah, I think that's just helped that little edge is almost a little too lost. So what we need to do is that back mountain. So we're going to wet it down. I'm going to be a little bit cautious because obviously, my edge is wet, but yours shouldn't be. So I'm just gonna leave this tiny line, but you go right up to the edge of this, the main mountain we've just painted. And we're going to put the merest of colors. Even just wetting it down would probably give you enough, especially if you like me, you ended up sort of drawing your clouds down there's probably some color there already like mine has. But I'm going to put just a tiny bit on the right hand side. Tiny, tiny bit. Doesn't need to be a lot. I think I'm gonna leave it at that. I go see I'll left a little dry patch there. Yeah, I'm just gonna just gonna leave that to form. It's almost a bit too much there. I want this just to be visible, really, so it doesn't really grab your attention. It's just there. Fab. Right. I'm going to try and be careful and I'll rub this salt out without squidging that, so we'll rub that away. It's quite fun, though, salt on there, isn't it? Give it a really nice healing of brooks. But we put some splatters down, which will hopefully create that again. Brush she off. Bab, now, you can take I liked how that's kind of formed. That's really gentle. But you can take little bits of color out. Careful. Minute you have something you like, it can What are you trying to say, really, it's always better. The more simple you can paint this, I think. At least, yeah, they're small pieces. We're not painting big pieces where you can kind of take bits of color out and you've got more scope to do some details, I think, 'cause these are quite small, the simpler the better. Actually, before I start doing little splatters, let me just rub out that pencil marks that are existing there. Obviously, I can't do the back of that mountain at the moment, but this one is actually quite nice. **** to go. You see you can get that lovely kind of lost and found look. Say, I'm not going to go in there because it's damp, but, yeah, taking fental marks out always helps. Right. Let me um. Get out of the way. Got my medium brush. Gonna use the sepa at the moment, and then I'm just going to do some splatters. You may choose not to do these. It's up to you, but they're quite. They give a little bit of texture to the mountains. I think it's come down here a bit. Ideally, you want to probably mask off you'll at least put a bit of kitchen roll or something over the amount sky, sorry, I can see what I'm gonna do in a minute. I'm gonna splatter splatter me sky. Yeah, you see how that starts to give you a little bit of um texture. Let's give that a little knock. So get some bigger ones. It's not working? It's wetted again. It goes on to the sky as I as me being lazy and not masking my sky off. I think that's done. I like that. I like how that's formed. That's worked well. I'm actually going to do while that's dry, gonna put a little water droplet in there, see if I can get a scent of some snow on that corner. Fabulous. Right, um, that my fingers off. And let's put a little mount around that as it's nearly done. Yeah, they're quite effective, aren't they? Kind of those rugged mountains where that we painted the snow leopard. I can imagine the snow leopard prowling around here kind of takes you away, doesn't it? Somewhere else, somewhere remote and quiet and peaceful. So, yeah, it's been been a fun little one, this one. 15. Final Thoughts: So I hope you enjoyed these landscapes and found them rewarding and joyful. Did you enjoy painting the skies? Remember to put that paint down and have the confidence to leave it to work its magic. What about using that simple palette? Did you find it helped keep things simple and fresh? How did you detailing go? That Christmas is a lovely contrast to all that wonderful looseness and light. If you struggled with any of these landscapes, try doing them a couple of times and don't overwork one piece. Just pick up another piece of paper and go again. So we look forward to seeing you in the next class.