Loose Watercolor Painting Essentials: Country Barn House Landscape

1. Introduction: Welcome. In this class, we'll be painting a loose country by in-house seen in watercolor. Natural landscapes as simple and beautiful, providing the perfect subject for a beginner watercolor artist. Adding a man-made objects such as a cottage of bond can create an interesting contrast and help to tell a story. Learning how to capture landscape in a quick, fun and loose manner is an essential skill that every artist should learn to master. Watercolour is the perfect medium that allows you to produce spontaneous and expressive paintings. On the go, planning is crucial. I'll show you how to simplify shapes and sketching the large ones, such as foliage, trees, grass, and land. Getting those large components in accurately beforehand is essential for your painting to make sense. So join me in this class. You'll see just how easy it is to create this amazing scene in no time at all. 2. Materials Required: Okay, Before we get started, I wanted to talk a little bit about the materials we'll be using. Let's start firstly with colors. So there's a lot of green in this particular painting. And the main green that I'm using as a darker green. This is green called undersea green, but you can mix your own, use. Any other dark green, even olive green, hookers green, completely fine. Just as long as it's dark so you can dilute it out and get those lighter shades in there as well. So very important. I do use a little bit of brown as well. So I've got a little bit of raw umber or burnt umber here in the corner with a long, some darker neutral tint colors. And also this black, which is basically granulating lunar black, lamp black. So that allows you to further darken down some of the brown if you need to, even some of the green if you want to obtain a slightly muted palette as well. I find that helps. Sometimes having a too vibrant and contrasting can take away from the entire scene if you want to make it look more balanced, which is why often aim for. Now, the yellows that I'm using, there's actually a few here. If you're over here, we've got some yellow ocher. I've also gotten a little bit of this hansa yellow light. Mainly I'm using the yellow ocher here, and I find that applying it in very light brushstrokes and with a very light mix, especially mostly water in there, you can get a nice and I sort of mixing of colors in there. If we put it in a bit of green into the yellow, just create some nice yellowy green mixes for those soft effects in the background. So another color that I think is important for you to keep in mind is this one here is just a bit of white wash and this is really a finishing touch I use at the end of paintings. And you can see it a bit in the grass. This painting. And all I do is just mixing a bit of white with the green and you get an opaque green, light green. And you can use that at the end to bring back some of the details. And you can even use it straight and get some of the whites and highlights back on the painting. The important thing though, is use it sparingly. I find that too much of it starts to take away from your watercolors. So let's about it in terms of the main colors that I'm using in terms of the brushes. These are a few, and most of the brushes I'm using these ones on the side here, which are watercolor brushes. They are fantastic at getting in large areas of paint for trees, for leaves, for the grounds and the soft effects of the grass as well. So you can see that they have a larger belly compared some of these brushes and the left, meaning they can pick up a lot of water, but because of the tip, sharp tip on the top of the brush, they can also cut around shapes and just allow you to get in details. These two on the side, we've got a number eight round brush, and I've also got a flat brush here. A angled flat brush, really good for detailing, getting an extra little branches and grass and things like that as well. I also have a small brush here which is called a fan brush and specialty brush that helps me to get in the areas of grass and things quickly because it has multiple bristles coming out, rather than getting a smaller round brush and doing them one by one. I find that the fan brush helps. Final thing we'll talk about is the paper that I'm using. So what we have here is just some paper and I'm using 100% cotton cold press or medium textured watercolor paper. Really important when you're looking at most landscapes because you're not gonna be able to get that software and wet effect and the nice blends without some kind of textured paper. Now it doesn't have to be cotton paper if you have other types of paper, watercolor paper, as long as this texture on it, you're going to be completely fine. 3. Drawing: Okay, We're going to start with the sketch for this scene. And the sketch is one of the most important parts of your watercolor painting, believe it or not, because it allows you to compose, decide whether you want to put in all the trees, give you a guideline, a bit of a blueprint before you even start picking up some paint. And you need to get this one, right. So I'm going to show you some simple ways to reduce this reference picture down to just a really basic scene. And from there, once we got the basics in, we can build up some detail in the watercolors. Okay, so the first thing I wanna do is I want to look roughly at the entire scene and look at areas where we can separate out. Big areas are big spaces, e.g. we've got the area behind the house and just below the house where the trees in the back and also where the house sort of ends. You can see a distinct line with the grass finishes off and touches the house and the grass has got this lovely green glow to it, yellowish green glow and the background is more a bit darker and the top is just lighter. So what I wanna do is just kinda mark out generally where the bottom of that houses. And I'm looking at estimating to see where I can potentially put it now it's not halfway through the page. Say it's about almost a quarter of the way through the page and you can, of course change it up. It doesn't need to be exactly as per the reference photo. I'm trying to draw a little bit darker so you can see the line. Normally I go quiet. Quite lighter actually. So roughly around here. So I'd say yeah, just about a about a quarter of the way or maybe slightly more than a quarter of the way through the page. And from here, what we can start doing is putting in the basic shapes. There's not really much drawing to do in this scene. It's, if you look here, e.g. we've got a tree that's coming up around about here. I'll just start putting in the trunk of the tree and then we've got one coming up through the side like this. Okay. And it just goes up all the way through to the top of the page like that. And then this one just sort of disappears to the left, this branch. Okay, so that's again a larger tree off there. And then I'm not really putting in any of the leaves, all that stuff we will do later. That's mostly just in a bit of wet and wet work. And then coming up here you can see there's like a largest branch that's coming off the tree and then goes, disappears off behind. Then you've got this this trunk here. This larger trunk comes over. You can see a bit of this tree going upwards. I can just start joining up bits of this tree as well to make it look a bit more detailed. There's a branch that goes behind all these little leaves and what have you. So this stuff we can do a bit later. Okay. Just make sure you've got the trunk in. And you notice just behind here where the grass is kinda glowing a little bit from the sunlight. And sunlight is coming. Say, Oh jeez, it looks, it looks like the sunlight's coming directly above everything because you can see the roof of that house. Yeah. We'll go in and just put in this tree in the back. And having, having trees that overlap with each other is really going to help. And the reason why is so that we get this feeling of increasing depth. As we move into the background, we've got smaller trees, but not just smaller trees, but trees with less detail on them as well. So you notice I just tend to the ones at the back here, got a couple of these darker trees off in the distance. You can barely see them. But basically you have this branch that comes up in these smaller trees in the background. We'll figure them out later. Okay, we've got another tree here. I always try to do the objects and trees and stuff in the front first. And that the reason why the reason why is so that once we get into the house and everything like that, I don't have to cut over the top of anything else. So we get the tree and we know it goes all the way up here disappears. Great thing about trees is that you don't have to get them in perfectly because they change in shape. Just a small change in shape does not make any difference. It's still a tree. The inconsistencies in a sense actually make it more realistic. And that's why I really loved drawing trees because you can have so much artistic freedom. There have to be two to literal with what you're doing. Over here, e.g. we've got a tree that's just coming up. Look at that, Just, just going to get in this branch that kinda comes all the way up and disappears off like that. Almost the faster that you do it at times, the better if you become too precious with it. For some reason, it just ends up looking too crowded and not natural. So that's why I tried to keep things fairly flowy. Unless it's something that's genuinely like a man-made object, house or something like that. We need to pay more attention to the details on the F. It's a specific landmark. Not even looking exactly at the size of the trees or the 100% location of where they are, just, just getting in and approximate location of where the trees are. So there's another one you can see here as well. There's some small, smaller ones that just go up like that. They kinda darker. And you can see this sort of under the scrub underneath and stuff like that. That's enough trees. That's looking pretty good. Now what I wanna do is start putting in this house. And lucky for us, we've marked in the area here where the grass kind of ends off at the back. And I can start working a bit on the house. Before I do that, I'll just put in this last branch I've realized I've forgotten to put in this larger one that cuts over a bit and comes over here like that. But the house is almost like an afterthought, but it is really important actually, just to make it look like this, some more going on in here. Otherwise it's just gonna be trees, which is fine. But I think having some kind of man-made object in here, it always just tends to look a bit more interesting. I'm going to start off with a bit with the roof, just a bit of an indication of that roof. And look at the shape of that roof as well. It's a kind of because that's rectangular shape on its side. Then I'm going to put in this section of the roof looks like this. This is like the shade or have you there. And then the bottom part of the house which is like he is just like a fence that runs off, almost noticed as well that this house also has another almost like another section off in the back. You can see it's hard to see, but there is some, looks to be like another section back there. It's very difficult. 100% is c, What is in the distance there? I'm just estimating top of that roof is quite important. When taking a bit more time to draw it in. It's a triangular shape. This is just like a triangle there. Triangle. And I'm just replicating that right-hand side a bit more like this as well. Cutting through that tree. And then of course this comes down and you've got a kind of bottom part of the house like this. Okay. These bits of wood all coming across and everything like that as well. So have a look here. I'll just draw in a couple of these little bits of wood coming down through the back of the house like that. There's a detail underneath here as well. It's hard to see, but just a little bit of that rooftop underneath. It looks to be like a darker area back then through the house. Of course, here you've got some planks of wood just running horizontally. I'm going to remind myself, just put some of these in like that. And of course here you've got a bit of this darker section of the house as well, then you can call it that in. If you're not sure, you're going to remember to put it in late. I just color it in and figure it out. Figure it out as you continue on later. Just a reminder that that needs to be dark and of course there's a window here, is that this little window? Why not put that in and darken that a touch? And it's still pretty, pretty basic here. There's not a whole lot of detail. Okay? What I wanna do is I've noticed that there's just something that's lacking a bit in here. I want to add in maybe some figures and people walking through here just to, just to, just to make it more lively. And you notice this path is kinda like a bit of a trail here. Okay, that's lighter. Okay. I put a couple of figures. Why not just put in a couple of figures? And you start off with the head and the head, I always make as a kind of an oval, the rectangular shape like this. And the body, just that rectangular shape there. And it's putting a one-foot at the front one leg, other leg. They're kind of figure walking into the scene and to the side. And we might have another figure here that's just turned to this one. And then both walking into the scene. Okay. Something simple. Something simple like that so that it tells tells a story. And not just that, perhaps we could have someone standing over here in the distance. Maybe they're just about to greet this person in the house. Okay, It's a bit of a story happening here. So there we have it. We've got a little sketch that's sufficient. 4. Painting Light: I'm going to pick up some light green. I'm mixing a lot of water in here. It's probably ten per cent paint. Ten per cent paint. A bit of green, but also what I'll do at the same time, it makes sure I've got some yellow. And yellow is important because I don't want everything to turn to green. And also it just adds a, if we have some yellows in there, we mix some greens in there later, we have some different types of kind of greenish colors. So just the top up there, like that, I'm starting with a little bit of yellow. This whole part, this whole section here is just basically getting in a little bit of paint and a little bit of lighter color. And notice on this rooftop as well, I thinking, what can we do? Maybe I can indicate a bit of a rusty color on the rooftop. Okay. I've just picked up a tiny bit of red, red, orangey tinge. Just drop some of that in there. Okay, drop Buddha, that orange in there. Sometimes I find a bit of orange, tiny bit of orange and a tiny bit of cerulean blue mixed together, it gives you a kinda rusty looking color and granulocytes out. So look at that. It's just so light, you can barely tell I've got any paint in there at all. Okay. Something like that. The cerulean, tiny bit of cerulean and a bit of, what I've got is quinacridone, burnt orange, but you can use other types of oranges if you want as well. Okay. Just something like that in there that I'm keeping it so light. Always remember, you have to preserve the lights of your painting. If you don't do that, everything is just going to turn out the same tone. And it's going to look very boring. And at the moment it looks boring because you've got not many colors of course. But you'll find as time goes by and you start adding some orange and especially the dark colors, the form and the everything just starts to come through. So I think that's okay for the rooftop. I'm just going to go through the slide here. I've got a bit of brown. This is burnt sienna, tiny bit of burnt sienna. And really it's just like a reddish brown color. And look at how I'm just cutting around the tree. Because I'm actually wanting to get in some little highlights on the tree as well. So I'm just cutting around that tree. Let's come down here like that, like that. Move that down like this. Notice we've got all this darkness as well in there, but I'm not in any rush to put that darkness in on just focusing firstly on all these light sections, you have to have to get into the lights first. After the light sections, you can start focusing a bit more on the darker areas. I'm doing this pretty quickly as well, so that it just melts together nicely. It's also a little bit warm in my room at the moment, so I'm just worried that it will start drawing without too much too much time for me to get in some detail. Look at that. We've got some bits and pieces in here. Okay? Just brown underneath, bits like that. So we've got that housing. We can rest assured now, we can play around with some of the rest of the details, not be concerned too much about the house. Now we've got that in. Now. If we've got a bit of time as well, I sometimes like to pick up a little bit of darker paint and drop in some some darks in here to get in the wet and wet, darker effect underneath so that we've got some just some variations and tonal variation in there while the paint's still wet. We'll go through it later. So notice I've left a bit of that sky there before. And I had some green. You can pick up bit of green, a yellow. Okay, I've got this yellow and just love a look around and see what do we have? Well, we've got all these, all these branches and everything and leaves. And I'm just going to put in because this is really just yellow, very, very light yellow that I am coloring entire section in this little bit of light, a little bit of white separation on the top of the building. I don't want all the yellow to sort of mixing into the rooftop. Okay. That I'm not worrying too much about the branches, but I can cut over the top of them a little bit just to leave bit of white on the branches. You must think to you. So that's a lot of awful lot of yellow. You see what I mean in just a moment? Because it's not going to stay like that. Okay. Look at this and I'm just going across and scumbling and basically I'm just being very loose brushstrokes. Loose little brushstrokes, joining everything together and creating this yellowy sort of effect everywhere. You can put a bit there as well. Because once, once we get in the greens, you're going to find it. So it's gonna be very difficult to imply any lights or the lighter yellow. So I tried to do this first. Um, not only that, but even in the foreground, you will find there is potentially some greenie sort of bits in here. I can just mix, start mixing that. So some of it look at that touches the house and potentially blends downwards. Okay. There we go. We've got a lot of this yellow and look how loose I am just getting it in like that. Can you have to have faith that it will turn out fine in the end. All these colors I've put in here, it's almost just all water. Okay. Now, go to larger brush. I've got some green watch. These can drop in a bit of green up the top here and let it do its thing of this is just a bit of undersea green and it will just blend nicely into the yellow. And then suddenly we have ourselves a situation where we've got a, an interesting effect in the background. Some nice wet and wet leaves or what have you over here just watered down the screen more. Watering down that green. I want it very lot. And notice, awesome, I'm letting it just melting with the yellows. I can pick up some more yellow if I feel like it's just not enough in there. Okay. You're very yellow here. It's kinda round these figures. I don't want to get them in 100% yellow as well. And I'm just using, using my brush, scumbling that brush around. And you can leave bit of white on the paper as well as you notice it's not all green left in some whites in there too. Okay. I'm cutting around that tree. That tree anyway, but there's some white here on the paper you can see. But I'm just dropping in. Taking, taking the liberty here to just drop in some of this green paint and let it do its thing. Work its magic as watercolors. You have to let it do its own thing at times. And of course, we have some of the details here for the trees, which makes it easy, easier to cut around and get the greens in. Again, it doesn't matter all too much even if you go over the top of some of these trees. Okay, it's just more, more of a guideline for later because it's actually the trees are pretty dark, so it's mostly just yes. Bit of darker paint that we've got in there. I just leave out bit of that white there, that yellow look at that and you can even pick up other types of yellow. Got a bit of yellow ocher, which is a more subdued yellow. Sometimes you want to pick up a more subdued yellow like this when you are implying you don't want too much of a contrast, or maybe you think it just looks too Gordy. For, I think at the moment it's probably a bit too bright. So that's why I'm dropping in some more of this yellow ocher and it goes down that yellow. It's still yellow but it's not a I'm striking yellow. If you know what I mean. It just dolls that yellow down a touch. Turns it down a notch. But of course it's a stylistic thing. Some people love having lots of bright yellows in their painting. In fact, I used to paint like that, but lately, last couple of years, I've reduced my palette down a lot and started to use less color and not only that, less vibrant colors as well. So coming through here, this is just more yellow down the base. Look at that quickly to you can paint in. Hold that color. And smaller round brush, round brush, smaller mop brush. And the same thing goes here. Of course, you can start putting in a bit of darker color here as well. And I'm picking off this green. A lot of it is just straight off the palette. The little bit of it, there's a little bit of water in there. But the less water you use, the darker the paint will be when you apply it to the paper. And not only that, you're gonna get yourself, some, it's basically not going to spread as much. Less spread. Which means. More detailing. And now I'm also cautious not to overdo it because I want to go over the top wall. This with some sharper brush strokes indicates some leaves and leaves and stuff. So look at this just a bit of green here and over here. And you've got to be careful as well. I'm going to use some little bit of purple in this green to create some perhaps shadows or something here on the ground. But I don't want to overdo it as well. I want to leave some want to make sure that there's some light left in here afterwards. But now, notice how I'm just going a bit darker now, okay? Going a bit darker. I'm going through the example, this one here, this has got a large sort of shadow here on the ground. It's fairly dark. It comes across like here. Like that. This point you can pick up some other brushes and experiment. I've got this broken up, round brush and terrible looking thing, but it creates some little effects like these. You can use a fan brush, you can use a flat brush. This fan brushes like I got a textured. You can see they're just a bit of texture that can imply perhaps some grass or something. Okay. I'm going up like that, but remembering to leave leave in some of that yellow, you can't get rid of all of it. You must leave some of that yellow when it's gonna look more interesting that way. It's a bit of self-controlled. It took me so long to realize how to do this when painting, to know that you need to leave stuff in with watercolors. Because sometimes what you leave in is more important than what you actually, what you actually paint itself. Okay, good. So let's have a look around and see what we've got here. It all comes down to how much detail you want to add in here. And we've gotten so much of this wet and wet effect here in the background, we can stop here or you can keep on going. Put in a little bit more. I really liked this effect of the light coming through a bit of the shadow underneath the figures as well. And the trees here, a little bit of that drop that in there. Now while that paint is still wet, just got an opportunity to do some of these interesting little bits in pieces. Because afterwards what we're doing is we're just get it, we're going to get in more sharper bits. Okay, good. I'm gonna give this a very, very quick little dry. Another little trick you should be aware of as well is using some scratching out. I'll sometimes pick up a little blade like this and just scratch off a few bits of paint. And this can just indicate some little grass bits and pieces here and there. And it works well when you've got an area that's almost dried. So I tend to draw it off a little bit with the hairdryer to this bit is not dry enough, so when you go into it, it doesn't lift off. That bit's perfect. Here, these bits, Perfect. You're getting a, get a little bit of that coming through. Just very varying these marks. A touch creates, again, that sense of dimensionality in your painting so that it kinda looks like there's more going on in here than meets the eye. And of course, because we've got all these little bits and pieces off in the background and it really helps. So this is dry nicely on, I think I'm happy with that. Some of this just scratching out here like that. I'm trying to be quiet, spontaneous with this as well. So that we've got some random marks here and there. Some more here. You'll notice as you get towards the front, you can see the blades of grass a lot more obviously than you can at the back. So I tend to make the ones at the front maybe more exaggerated. Too much. Just little scratches. Paint some more here. The right hand side. This stuff adds up. Okay. So time to start putting in some of the dark areas and detailing. 5. Painting Shadows: So what I've been doing here is up and using a little fan brush and some diluted green. Just going over. Once the paper's dry and getting in little bits of darker green in here. Okay, and you can notice these little brush strokes, but we're also making sure that we're leaving in lots of that yellow in the background. So I'm just picking up some areas, making sure I've got some light left and you can see on top of some of the tree branches and what have you the a bit of that yellow touching on. Okay. And I'm going through just adding in a bit of this color. And even here in the foreground, you notice I'm just doing this as well, just adding in a bit more few these little brush strokes are the grass and leaving in, making sure that the yellow is left in as well. That's really important. I like this. Here. I'm here Just making sure I'm getting in bit more of this effect, this grass effect, and the consistency of paint I'm using is very light, but it is a little bit lighter than the background color here in the grass. Just making sure I've got some different brush strokes for the front. Bit of extra contrast. That extra darkness here. Okay? So you're doing this same thing all over in order to get in a few different mixes of color up at the top. It's mostly just green. And look at this, I'm picking up some darker green as well. Why not just put it in a bit of dark green here and they're getting a bit more extra detail. And also you got to remember that the trees are pretty much dried off as well. So there's not all that much you need to do to get in some details in the trees I put them in last because they are the darkest part of the painting apart from the actual house itself. We get in the shadows of the house as well. Notice how I go around the house, cut around the house a little bit like this, and create a bit of a bit of contrast between the background and the house. Okay, so I'll just darken off that green a bit more near the top of the roof and the sides like this. Okay. Here, here. Underneath, there is a lot of yellow and lots of colors in there, so I don't want to disturb too much of that. Okay. I'm going to start working on the house now. Let's pick up a bit of brown. I've got a bit of darker brown, burnt umber. And I can just start work in this house now, that darkness in here, oops, darkness coming up there. You notice actually the House has mostly the lights on that top section of it to the right. And the rest of it is just kind of darker than the base. And I can go ahead and cut around some things like this, like a little pillar there, like that. But here a bit of darkness here. Under here. We can just cut around that tree and bring the paint downwards. This is just a simple Brown. Okay, but I want to make it pretty much get it all in one go. And notice how I've left a bit a lot as well on that top of the house to the left here, in here. Just that same brownie color. I'm exaggerating it a bit, making it darker as I move down the page and just darken that often little bit like that so that we've got in I'm just kinda nice little chocolatey brown colors in it. Okay. Good. Right. Oops, it's going be too hard there. That's okay. They're just putting a few little vertical lines to indicate some of these. The bottom of that rooftop and they're good. Now, let's go ahead and start working the trees. And this is gonna be, you're going to use just like more darker colors, mainly neutral tint in here. Like a grayish, neutral tint color. Okay. I'm going to make these trees fairly dark. Too dark, but more of like. Definitely more dark up the front as well. Look at that, just get it in. Try to see if you can use the least amount of brush strokes to get the scene. This one? Yeah. Okay. Sure. That I've got it firmly attached to the ground. Here. As we go up to the side, I'm going to create extra contrast, extra darkness up there. Here. I'm going to bring this up like that and do this kind of thing. You get these spreading of the paint and a bit of this dry brush effect. And it works quite well with some of these white leftover. I'm gonna do the same thing here. You do this intentionally to leave in just some indications of highlights on there. That just a bit in here. Maybe warmer color, a bit of brown and there would be nice to want to look at that. That's another one and another branch coming off of there like that. Let's get this one in. More water moving upwards like that. That I'm coming off the side here like this there. Few brush strokes. And you doing this quickly so that you've got in these little highlights I'm going to pressing onto the paper and letting, letting some of that background paper show through that watch or through by pressing down and dragging it across some. Also altering the amount of paint on my brush, leaving less paint on the brush, leaving it kinda dry, actually slightly dry so that this effect is possible. I'm going to go up and do this one to the left. Now, let's go ahead and probably should have used a bigger brush for this, but doesn't matter. We'll make do here like that. Just going up here. This is a this is a tree here going directly upwards and just plan to make sure it's planted on the ground bit more firmly and just get that blend in a touch. This. Okay, good. There we go. One brush stroke is all you need at times like that. Just one brush stroke moving upwards, another brushstroke moving upwards here. The brush stroke here moving upwards. Like that. A lot of it is just kind of layered over the top. Okay, bit more here, this larger tree to the left, I'm trying to just paint so that you're able to see as well. Normally, I'll paint from bottom-up like this. You've got some trees. Bit of brown in there. In a bit more brown. Okay. And you notice some parts of the trees a little darker than others, so I can just pick up bit of extra paint and drop that in to some parts of it to just let it seep in. Do its thing. Mainly around the nooks and crannies of the tree like here, like here. You might get them more in the little nooks, like kind of where kind of where the light can't get too. Because remember the light source is coming from above, so it's difficult to ascertain. I'm just enjoying in another branch here. And this is an opportunity as well. If you get the chance to just add in some extra branches, some extra details, that this is gonna be just some more branches. And they're not really here. But I want to put them into create. Just a few more things going on in the, in the background so that it's not all just trees and stuff back, not trees, but bush leaves and stuff here. Some of these darker ones coming up here in the distance. Can you see that? So I'm just going around darkening this button here. And of course we've got these figures do. So. I'm still cutting around and adding some bits and pieces in here. Okay, this is creating a center of focus. Also. Center of focus. There. There. Here. Okay. Strengthen that side of the tree a bit more. Here as well. We've got a bit of verticals going up and I'm going to do them exactly the same kind of coming up like this. I'm just trying to make sure that you're able to see me do this on the camera. And normally I would just go straight over the top. I like that. It's often distance. Smaller trees. That one's probably too much, doesn't matter. Scratch it off a touch like that. Okay. Fantastic. I will put in some of these figures while I am here. Let's put in a bit of blue. I'm going to just draw this off. Add-ins and details, figures. Details of the figures have got a flat brush here. And I'll be using some cerulean blue. Touches cerulean blue and a bit of white. Just to get a bit of blue for this figure. Something different in there. Maybe I'll add in some more white. I'm just getting a bit of color on this one as well, like that. Okay. Do you have another figure off here in the distance? So I'll just add in little touch of color. They're off in the distance. Like that. On the legs. I'm going to put in some of these a little bit of darkness at the base to create some shadow. Like a shadow directly underneath like that for the figures. Connecting that a bit more with the legs, like that. It's difficult because the light source here is not entirely coming from a specific angle. And so we're getting just more of this general light from above cost downwards. So I'm just trying to get the legs in a bit more detail like that to imply some more shadows under there. There's a figure here as well, so I'll just put in a couple of legs like that, just standing up right here to that shadow underneath that figure to be in there. You can put in details, a little bit of details like that. Person could be holding a bag or something even. So we've got a couple of figures walking into the scene. Really at this point, you're just looking at some small details that you think you might want to add on e.g. with the house. You've got some of these wooden you can see these wooden boards go across so I can just draw them across the truly like that, the bit of paint. Okay. Go cross there and you can see some of them actually just turn into these darker areas underneath the house. Just simplify those down a touch. And then here on this side as well, a little bit more vertical, some verticals there. A bit of darkness. And of course just putting in indication of these dark areas in the house like this. That simple. Just a few brush strokes like that. You get one up here for the window as well. Something up there. Round brush really shines. Flat brush, I mean, really shines here. Makes it easy. More like that on that right side of the house. Extra darkness. You can just pick up bits and pieces like underneath years, sometimes you get a bit of extra extra darkness under the roof tops. So you can imply a bit of that here. Here. Another thing that I've forgotten is just this kind of shadow. And I'm gonna get that shadow in general, running across the top of the house, maybe make it a bit more darker. Shadows of trees and things. You can see them just cutting over the top in the areas necessary to get in some indication of that. A little bit more white gouache, which I'm going to use, put in some highlights with the heads of these figures and the shoulders. Shoulders like that. Oops, that one's a bit too much, something like this. Here as well. Simple little bit select this. Also go into the trees, that kind of thing. If you've got a bit of yellow, you can make them any yellow into the gouache so that you get a warmer color gouache and do stuff like this, putting little highlights to indicate some blades of grass and stuff. Running through in areas works on these dry areas much better and you can see how it just sort of cuts in front of the trees, helps to join things onto one another. The tree, trees in the ground. Bit of variation there. This maybe a bit more here. But here, few little strokes. They can just be indicative of some sunlit bits of grass or something in that section. Ok. Want to overdo it though, so I'm careful to know when to call it. Quits. Want too much of that. It's okay. I'll call that one finished. 6. Class Project: Your class project is to draw and paint your own country landscape. This can be a St. featured in this class are based on one of your own photographs or scenes you've observed outside. You can also refer to the scan drawing and painting templates attached below, which will allow you to trace the drawing if you choose to do so. I recommend drawing each scene. Free hand. Drawing is an important step in improving your painting skills. It provides you with an opportunity to impose and plan your painting. Once you've finished the drawing, use the watercolor steps and processes, including the class demonstrations to complete your painting.