Mastering Atmospheric Natural Landscapes in Watercolor: The Ultimate Class

1. Introduction: Hi and welcome to the exciting world of watercolor painting. As a beginner, mastering the art of creating a loose yet accurate natural landscape can feel overwhelming and daunting. Where do you start? What techniques do you use? How do you bring your vision to life on paper? In this class, you discover all the essential processes and techniques to transform any photograph into a stunning and impressionistic landscape. With my expert guidance, you'll learn how to create a masterpiece that captures the essence of the scene and showcases your unique creative style. Together we're going to explore ten breathtaking Australian landscapes, and we're going to take you on a journey to create each one step by step. You'll witness my entire process in real time. From the initial drawing and composition of the scene to the careful layering of light and shadows. Finally, to the addition of details and lights will also cover some essential techniques such as wet and wet, wet and dry, and practice painting some common landscape elements such as trees, rocks, and water. With each lesson, your skills will improve and you'll watch your paintings come to life. Whether you're an experienced artist or a curious beginner, this class will equip you with the tools and techniques to create awe inspiring landscapes with ease and precision. Join me on this exhilarating adventure into the world of water colors, and let's unleash your inner artist together. I can't wait to get started. 2. Materials Required: All right, so I want to talk a bit about materials we'll be using in this class. So here in the center are all of the brushes, or I guess a variety of brushes that I think you should have in your collection. And you don't need all of them. But I'll go through the most essential ones. So probably the first most important brushes you want are these here. These are watercolor mop brushes. They have a fine tip and they have a large belly here on the side, so they hold a lot of water. And they allow you get in really large areas of washes for the water, for the reflections, for the sky, for the entire bit of the rock and stuff like that there. These brushes are really good because it also allows you to cut around and get really into those fine details with that point. But also allow you to cover a huge area without having to reload your brush constantly. So these are really important. Now, the next sort of category of brushes that I think are very important for landscape. So these normal synthetic round brushes here, okay? Now these come in a size six. This one I think is a size three. This one, This one, I'm not sure, I think that's a size one. Okay. But basically they're just smaller little brushes. Okay. If you see them next to my hand just for detailing, for getting in little trees, shrubs, that kind of thing. Really good. They don't pick up much water, but they're great and they hold a nice point over here, I've got some interesting brushes. I'll probably go through them one by one. This is a watercolor fan brush, and as you can see here, it's got these sort of splayed edges, splayed tips here. So this is really good if you want to get in, you know, for example here, just a little bit of this grass quickly in case you don't have to go one by one really good. And you've got this rigger brush as well, which I find and also great for doing. Individual strains of grass also, you know, smaller trees in the distance. That kind of thing works very well. I've got a couple of flat brushes here and flat brushes, one of my favorite sort of brushes to use, they just leave a more unique kind of mark on the page here. Especially, I'm trying to imply the kind of straight creations of the rock. You know, even on trees and things like that as well. These brushes are really good and they don't hold too much water, but they're good sort of for the second wash, once you've got in all the main cars in there and also carry around this little brush here. It's an old round brush, okay? And it's got, I've kind of just played the tip by smashing it like that. And this allows you to get in bits of these tree branches and leaves. The mean over here, you know, just little messy bits and pieces. So really I find that quite important now in terms of the paper that I am using. I'm using 100% cotton watercolor paper and I'm using it in medium texture version. Okay. So medium texture has a little bit of a grain to the paper. Really important for landscape, watercolor, landscapes. It just allows the paper to dry a little bit more evenly. When using smooth paper, it's much harder to get this sort of the smooth washes there. Despite the name, you get areas that just sort of pull. But with medium to rough textured paper, you're able to achieve these beautiful sort of wet and wet effects. And it gives you enough time as well before the paper starts to dry. So really recommend that if you don't have any sort of cellulose paper is good. You're just going to have to work faster. Now in terms of colors, I'm going to go through a few that I use. Now, over here on the left, I need to reload some of these. This is Quinacridone Gold. I've got a bit of Hanza yellow light here in the corner as well. Okay, these are my vibrant sort of, this is a sort of golden yellow and this is a very vibrant, bright yellow. Great. If I want to mix up. Yeah, just more saturated yellow. Here, I've got a bit of yellow ochre, which is a desaturated, what kind of an earthen yellow? Pyle orange, and pyle red over here. Okay, Yeah, these are very nice bright oranges and reds that I don't got a bit of this granulating orange here. This is, this is called Coronacodone, burnt orange. Okay. I don't use it all too much. This color here needs to be replaced, but basically it's off white. A buff titanium. And I also use a little bit of this color here, which is just titanium white, mixing them with a touch of yellow to get a similar color to buff titanium. So if you're running out of that, buff titanium is a great little substitute. Over here, we've got the cerulean blue, perfect for skies. I've got a couple of these here which I won't talk about basically in detail. I've got lavender and cobalt turquoise over here. You can use these for water and skies, but cerulean is you mainly want ultramarine blue. Very essential blue, darker blue that you should have burnt sienna, raw umber or burnt umber. Both of those are really good. I've also got, I've also got another color here, this is called brown ocre, similar to yellow ochre, but little darker over here, I've got a bunch of greens, a whole set of greens. Now, you don't need all these greens, I just have a few of them and I find that it helps to have these pre mixed ones. I don't have to continually mix my blues and yellows together to come up with different types of greens. I can just grab these off the palette quite easily. But Hookers green, undersea green, emerald green, all those are completely finer. You can just have a dark blue and a yellow and mix them together to make different shades of green. All these here basically purples. Three purples. I don't use them all too much. Maybe some a little bit in the shadows. Bit of this color here, which is neutral tint. Neutral tint is a color that basically, it's like a black. It's a, it's a gray color. So really dark gray color. So if you mix up blue, red and yellow together, you're going to get this color anyway. But I just have a pre mixed set of it because it's just a lot easier. I don't have to mix it up. I can grab it straight off to get that really nice juicy dark color. And also I'm using this here. This is a tube of white guash. Now it's opaque white watercolor paint. This is really important if you want to get in those final finishing touches on your painting because this kind of can go over the top and create tiny little highlights. You can see here on some of these rocks here, on the edges of the tree here, up here as well. Okay, I find this is fantastic. If you do have a bottle of just titanium white as well, that works perfectly fine. You can use some of that, but it's just not going to have that really opaque quality as the white guash. But apart from that, that's all you need. I've got a couple of really large mixing wells here. I find that sufficient. If you've got some smaller ones, you can also make do, but I like having large ones. It just allows me to mix up many different colors, mix up significant quantities of color here as well, so I don't have to continually remix. 3. Wet-in-wet techniques: This video, I'm going to be going through some wet and wet techniques really important for you to understand this. Because I paint a lot of my work with wet and wet speeds things up and allows you to achieve that loose and fresh look. Also saves a lot of time like I was mentioning. Anyway, let's go ahead and I'm going to show you this little technique. Basically, I'm going to put in four squares. Okay, Four squares. And basically what I'm going to do is I'm going to wet the paper within each square. Okay? So I'll get a mop brush, just a basic water color mop brush. And I've already got some water, a little bit of grayish paint in the water, but you're not going to be able to tell too much difference anyway. But anyway, I'm just going to wet these four areas, each of these four areas completely that way. I'm going to be able to show you how timing relates to creating detail in Witt and wet. How you can use it to your advantage in witt and wet. Just making sure I've wet each of these squares down completely. Okay? And there's actually a bit of excess water which I'll just mop up a little bit around the edges. Just mop up a little bit of that water like this. Okay. Okay, great. So what we'll do first is we're going to go and add in a little bit of detail on this first one. Now timing is really important because when you're painting went to wet. It's not just a matter of wetting a square and then just going straight in. You have to go in at the right time. For example, this one here is completely wet. So if I just pick up a little bit of darker paint, drop that in, okay. You can see there, it completely just starts spreading all over the place. You get these really wild marks. And if you add in more water, if you see here on the palette, I'm mixing up just really this darker paint. If I'm using more water and drop that in, you get even more looser and shapes that spread around. Okay, compared to if you just pick up normal paint, just off the palette with barely any water, drop that in. And you can see though it still forms soft edges on the sides. It doesn't spread as much as when you put in a lot of water. That's something to really keep in mind when you're also having to take into consideration how much water is on your brush in proportion to paint. Okay, so if you want to paint in clouds, you want to paint in just a nice little background color. You're going to use more water. I've got some cerulean blue here, for example, and I can just drop that in like that very easily. Okay? A lot of water in there and that will spread around nicely, create a smooth wash. Okay? But on the other hand, like I was showing you before, if you pick up another color, a lot of paint on the brush, drop that straight in like that, and there you have it. You've got yourself more of a firm, obvious line where the paint goes and it doesn't move around as much. Okay, now that we've covered that, I'm going to go to this next square. Now you'll notice that this next square has pretty much started to dry off quite a lot. Okay, just mopping up a bit of that paint there. Started to dry off quite a lot. So let's try the same thing. I'm going to pick up some of this darker paint on the brush, very little water. Let's drop that straight in. Let's see what happens. Okay? Now you notice here the line is sharper, okay? It still spreads around. The paint still spreads around, but it's sharper. That's because the water behind there is a little bit started to evaporate. Okay. And as the water evaporates, as we paint through each scene, you'll notice the lines and the marks that you make in there get sharper and sharper. But as long as there's still a little bit of dampness on the paper, you'll find that the color will just still spread around. Now, let's try something else. Let's add in lots of water in this mix. Okay? Probably about 80% water. I'm going to drop that in there. Okay? So you're getting the same sort of similar sort of effect, but it is moving around a lot more. Okay? Because we're introducing more water. Okay? Now, because the paper is still fairly wet, we're not getting any funny blooms, okay? A bloom is basically, it occurs when you put in water, too much water into an area that's already starting to dry. Say here, drop in a bit of water there or here. All right, It's already starting to dry. You can't really see it all too much yet. But you'll see later, like here in the corner. It starts to create some funny little areas where the paint will spread out from the center. Probably have to wait for that a little bit longer for it to dry to see, to sort of demonstrate that Bloom effect. Let's go into this third one, okay? This third one, again, picking up some really dark paint. Let's go in there. Okay? I've actually had some water in there, but look at that again. It's getting a little sharper. Okay? A little sharper, kind of similar to that one still, but okay, now this one here is almost actually dried off. And I think this will be actually best to illustrate this last point. So if I go in there again, look, okay, spreads the least. And you get to the point here where you get this sharper detail here on the edges and that's because there's basically no water there on the edges. You are essentially just modulating how much paint you have on your brush. Okay, Versus water. Also keeping in mind how much, how much water you have on the paper. Okay? As you move through, as you add, wait a little bit longer for the paper to dry. You get sharper and sharper marks to the point where it just becomes completely sharp on dry, as you see here on the edges like that. Okay. Something really important to consider because sometimes you might want to indicate some little waves, some light, tiny little ripples or waves or something like that. And you don't want them to spread out too much. Okay? So something like this will be good because the paper will dissolve the blue a little bit, but it's not going to spread all over the place. Okay? Whereas if you try to do that back here, for instance, and let's just put it, I'll just spray a bit of water on top. Okay, pretty wet. And now I go in and add in some of that blue look at that. It just spreads all over the place and it creates a bit of a mess. Now, this is fine if you may be creating some big waves up the front, but if you're trying to create some little waves, you're going to have some problems. This is just going to spread too much whereas you go in here. Okay. The paper is just damp. It's almost close to drying off and you don't have that issue there at all. Okay. I do recommend trying this exercise and getting used to different levels of wetness on the paper because this is really going to build, build that comfort in yourself so that, you know, okay, if I need to create some sharper lines or maybe some smaller softer waves, I'm going to need to wait a little bit longer for it to get to this stage, okay? And the best way to tell is just to look at the paper from an angle and look at how much water is on the surface. You can see the water kind of glistening here on the surface. You know that if you go in there with that brush, it's going to spread all over the place. It's going to make a mess. And that's fine if you're painting a sky or if you're painting the general background warmth of a mountain or something like that. But if you want to get in any sort of resemblance of a shape and form, this is not really the time to do it. You've got to wait more till you get to this stage. If we look at this last stage here, the paint has almost dried. We've got a little bit of dampness on the paper. Okay, But that sort of glossiness of the paper has worn off and you've got a very, very light sheen there. So at this point you can actually move a sharp object or like a card or something like even your fingernail. You can put that through and you can scratch out little details like this. Okay? And this is really important because you can create details. You can create grass, you can create little high lights, you know, I don't know. These could be large trees or something like that going up. Okay. You can only do it at this stage, okay? Because if you go in here, say this one up the top, look what happens. The paint runs back into the little areas that you scratch out, right? Even if it doesn't run back into the areas, you kind of get these weird C here, just these kind of weird darker lines there as well. Okay. And sometimes I want some of these as well to contrast against the L, the lighter scratch marks. But if I'm trying to get this in, it's the wrong time to do it. Okay? You're not going to be able to do anything. I mean, this side has started to dry off, so you can do it here. Okay. Really, the wetness of the paper is just so important. Again, give this a try and get used to painting on different stages of wet paper. Okay. Try painting different things like clouds, painting waves, painting some mountains, some distant mountains as well, all kinds of things. If I wanted to put a mountain in here like that, that paper is still wet, slightly wet. We get some furry edges, but you can still see the general edges of the mountain there. Okay? But do it here. Okay? Still. Okay. But you get more softness around the edges because the paper is wetter over here. You now pretty much almost get a complete sharp edge for that mountain there. Okay? This one there, it's still wet from before. I'll just illustrate what a bloom looks like as well. I'll pick up a bit of water. Okay. If we've got too much water on our brush, this is what happens. You drop that in there, in here. Blooms can also be a really nice technique because they sometimes texture, you can bring out a little bit of texture into a scene here. All right? It happens when the paper is just a little damp. You introduce water into a damp area. Yeah, you can see it here. That's probably where it's best illustrated. This center area of lighter paint and the darker paint around the side. This can be good and bad depending on what you're after. If you're trying to paint a nice flat shape, this is going to be your worst enemy. Make sure you look at your page and think how much water is on that page. If there's a lot of water on there, that's fine. I can use a bit more water mixture in my paint there and drop it in. There's no issues. But if the page is already starting to dry, that paper is already starting to dry and you introduce water, too much water into the air, you're going to get these kind of blooms around like this. 4. Wet-in-wet vs wet-in-dry: All right, so here is a quick little demonstration to show you the difference between wet and wet and wet and dry. Okay, so there's essentially wet and wet, which I think is a really, really important thing to learn, which basically used that to paint almost everything in water colors. And what I'm going to do, I'm just going to wet the paper with some water. It's not clean water. It's got a bit of gray in it. But at least you'd be able to see roughly where I've gone over the paper with the water, so you can tell the areas which are wet, areas that aren't. Okay. I say in this particular scene, we want to put in some clouds, okay, Or maybe some blue sky. I can just grab a bit of paint. Bit of blue paint here in the palette. Okay. I don't even need to mix it with anything, can put in a little bit of water, but really can just take it straight from the palette. Drop that in, like that. Okay? And the paint will dissolve on the paper itself. Okay? As you can see, you get a large spread of this paint. Okay? Lots of that color just evenly dispersing, okay? Down the base. I might, for example, put in some, I don't know, bit of yellow or something like that here, okay, drop in a bit of yellow. The yellow will even mix in a bit with the blue and it will create a soft edge here on the side, just in the center like that. All right. Really good for painting large areas, Getting in general bits of detail, okay? But not for getting in sharper details. If I want to get in clouds for example, I can just pick up a bit of purple or something. Anything that I have just for purposes of this exercise. A little bit of purple. Dilute that down a little bit, but still make sure you're keeping, keeping that paint brush, keeping that level of pigment quite heavy. Okay? And I can drop that in there. You need to have a bit more pigment, little bit more pigment on the brush to be able to do this. Okay? Look at that. And you can just drop that in there to create some clouds, okay? I try not to put too much water on the brush at this stage, okay? But because everything is still wet, we're going to be fine. Sometimes I'll pick up a little bit more paint. Drop that in underneath some of the clouds like this, I might add in a bit more water, okay? To create some softer looking clouds or whatever, Something like that. Okay? So those are some basic clouds. Okay? Now, the next thing you might want to add in, in a scene like this is maybe some mountains. Okay? I'm just going to mop up a bit of this water because it's pulled in some areas of the paper. I didn't want it to do that. Okay. But I might want to add in down below mountains. How am I going to do this? Well, I want to make sure that I've got a lot of paint on that brush, so I'm going to pick up maybe some blue, okay, dark, ultramarine blue. Mix it in with a bit of purple. Bit of brown as well, Touch of brown. To just get in like a bluish gray color, I can get that bluish gray color. Notice I'm not using much water at all. Little water in here, okay? To keep it nice and strong. Now, when I go in here, now this is going to be stronger than the clouds. Check that out. Okay. We notice that edge doesn't really move as much. Okay. We've got darker paint in there as well. Okay. Really dark paint. I can move this down. Add in some extra darkness here. Further down the scene like that, That's going to make it come out, pop out of the scene. Okay? On top of that you might think, hey, I want to put in some branches, tree branches or something like that. I'm going to get, again, really pick up a lot of this darker paint straight from the palette. And I can do something like this. Okay? This is a little rigger brush. The smaller brush just creates a thinner line which doesn't spread as much. Okay? But of course, you still get areas if there's lots of water in there that will spread more. Okay? And you can see here in the edges as well, it's starting to dry, so we don't have as much spreading of colors and things like that. Okay. You can even other colors, drop other colors into the foreground and add in a bit of contrast. A bit of something in here. I've got some lighter color. Okay? More wet into wet work to create a bit of interest. It could be foliage, it could be anything in there. Okay. I sometimes use guash for this. It can use just normal other water color paints as well. Okay. Drop bit of that in. This is more bluish paint as well. You play around with what you have here. Okay. Of course the paper is, it's still quite damp, you don't get much detail or anything like that. Okay. The longer you wait, the sharper all these lines will end up becoming okay. Even now going in, you'll notice that line on the edge is just a bit sharper here as well. Where the page, the paper has started to dry. You have this dry brush effect in there. Okay? When you want to get in really small details, just wait, Wait until the paper is almost dried. Okay. That way you can still get in soft atmospheric looking details like this. But blend them on with the darker effects, sharper effects as well. Okay, that's a little illustration of wet on wet. We can do for this next demonstrations, we can do wet on dry. What I'll do first is get in the sky. I'm just going to put in a really light quick indication. Check this out as I'm going in putting in the sky, notice you can see the edges of where the paint brush touches the paper. Okay? That's because the page is completely dry, so you're not going to get any soft edges, any of that paint spreading. Okay. Like that. Of course, when you go in and I say, if I want to put in a bit of green or whatever paint I have left on the palette down below, there's going to be a bit of that paint just spreading further down here, right in the center of the scene, there's going to be a bit of that connection. That's a bit of wet and wet connection in the center. Okay, that might leave a few little white ****** like that. Now we're going to dry this off. Now with this paper dry, what you can do now is you can actually layer over the top and put in the same mountain that I had here. Look at that. You've, if you look carefully now got a sharp edge for this mountain. Even areas where the paint brushes skipped over the paper. Okay, here you can bring that over. You can create bits of the background showing through. You can do things like create rocks here on the ground like that. A smaller brush, smaller, and we just imagine maybe a light source coming from the right. Okay, Some rocks here on the ground with the shadow pattern running to the right, like this there. You can put in a tree as well. Okay, put in a tree somewhere like here. Let's put in a tree here. Okay, Notice how the branches don't spread around like you get on the other side. They just stay put. And then they look sharp. Look crisp. You can have the shadow running to the right like that. And even the shadow is quite crisp as well. Okay? When some other rocks and things, who knows, twigs and stuff like that here in the ground. Another one here, another tree here, or something like that here as well. Okay, Very simple illustration, but it really depends what you're looking for. Some of the scenes that you do in this course, you'll find that you'll get this effect more of this style, okay? Depending on what I'm doing. Some of the scenes, I prefer to paint in a more looser style and it creates a more dreamy look. Whereas some of them I might want to paint more like this. As you can see, it emphasizes the light, sharpness of the light, the dryness of the climate. Okay? Two different styles. 5. Painting basic subjects: In this video, we're going to paint some really basic landscape subjects that you can see in all of the demonstrations. Now, the first one are rocks, simple rocks. Now what I'd like to do with rocks that I like to put in the warmth of the rocks, you've seen a lot of these scenes, they have a warmer color. You do have some grayish colored rocks as well, so you can change, alter the color. But the main thing is that I like to make them random shape. Okay? In size, you get some flat ones, you've got some longer ones. Shape, size and color. Okay, That you've got a lot of these different shapes. Sometimes you get these sort of longer ones or ones like clusters of rocks as well. So you get like a few, like three or so a bunch of them just clustered together like that with a big one in the front or whatever. Okay? And I'm going to imagine that the light source is coming from the left. Okay? In a lot of the reference photos that I select, I make it easy for myself by choosing a photograph with a really, really obvious light source. Now, the light source coming from the left, we're going to see a shadow on the right side of these rocks. So I'm going to pick up a bit of darker paint. Just neutral tint, something simple. And I'm going to go here and just put in a bit of shadow on the right side of these rocks here. Something like that. Yeah, Then you can see on the ground a bit of darkness that you got a bit of shadow to the right here as well. You can do it for that one. This rock here, you might get a bit of shadow there to the right that, okay, Something like that. May be here all across the right hand side there. Little ones as well. Casting a little bit of a shadow like that. Okay, very simple way to paint rocks and gives it a bit of dimensionality, makes them look more realistic. Of course, I add in a little bit more color into the rocks themselves afterwards. To change the changing around a bit further, you can dry brush in some funny strokes like that to make it make it more detailed. And you can even go over the top with a bit of lighter colored gas or white, which is what I do as well just on the left side to bring out the white of the rocks even more. Okay, not the white, but basically little light hitting the left side of the rocks or wherever the light source is coming from. Okay, It's a pretty basic kind of rocks and that's how I do them, obviously. The next one is trees. With trees, I like to pick up usually a bit of brown and maybe a bit of dark color like black. Mix those together, brown and black. Okay. And I hold the brush right on the end like this. And I'll just move the brush around and depending on the reference photo you can change it. But that's a basic tree. You got the trunk start off wider at the base, and then you have these branches that just flare out, go to y shapes or what have you. Okay. There's a point where I think to myself, gee, this brush is getting maybe a little bit too big to paint. What I need to paint in terms of the little twigs and things like that, little branches, I can pick up a little rigger brush like this. And again, it helps create some more of the finer marks are quite difficult to actually paint with the larger brush, but I always try to use the larger brush where possible. Okay, you get these weird ones that cut around like that. Now in terms of the leaves, I like to pick up an old round brush like that with some splayed out bristles. Can also use a fan brush or a small brush that's in good shape and just do it in smaller strokes. I can just do this thing, put a bit of water on the brush, pick up a bit of that green paint, and flick in a few little indications of the leaves. You can even just get a whole clump in like that. Okay? Or you can put in smaller strokes like that. Okay. Really basic. Sometimes it's good to even add in a little bit of color underneath at the bottom part of the leaves like that to just indicate maybe the light source coming from the top or whatever. Then of course, you've got the shadow and things like that in the ground, if we can imagine, maybe the shadows coming from the left again. Okay, we got a bit of the shadow here on the ground. It goes out into some interesting bits and pieces. Perhaps here, just due to the leaves and that, okay, going up a bit too high up here, I could just make that yellow. Uh, just behind there on the ground. Bit of yellow as well. Okay. But you got a indication of that shadow running towards the right. You're like a very soft kind shadow. There's not much in there. Okay. But indicating where that is. Okay, good. So that's your basic, real basic sort of tree. In terms of grass. There's a couple of ways that I paint grass and the first way is I try to wet the paper. First, I might wet this section here like that, okay? Okay, I pick up a little brush, a small brush. It can be a fan brush. I use fan brushes pretty often. I also use little micro little brushes like this one Little round brush, I just feather in a little strokes of grass, like this, little shrubs and things as well. You do this exact same way, that way they look a bit furry, they look a bit more. See how it blends a bit together? But then you have some sharp edges here and there do some individual strands. This little fan brush is great because it just allows me to get in lots of little brush strokes like this without much fiddling around. It's like doing ten strokes at the same time. Very easy. Okay? You can even do it over here. You notice that the paper has started to dry. As a consequence, you get sharper brush marks for the grass. Try to keep the grass sometimes coming in on different tangents, Okay? They're not all the running in the same direction. Don't overdo it as well. Okay, look at that. Got a bit of that in there. Another way that I can pull out a bit of grasses using a little knife and just doing this, scratching out a few little bits of white of the paper. And you've got to wait for the paper to almost basically almost be dry to do this, okay? But this is how you can do it as well. You can scratch some of that stuff out there as well, okay? The combination of all these little brush strokes and lines running in different directions, it creates an interesting looking scene. It makes the grass look more convincing. Especially when you combine multiple, a few of these little techniques together. Okay, Now let's go ahead and I want to show you how I paint water. Okay? The basic way that I paint water is I always like to put in the light first. And often with water you're going to get, you might have a bit of the sky up here. Okay? And then you've got a river or something down the base. Okay. So usually make the top darker and the bottom darker. Okay. And then the center is lighter essentially. Okay. So feather that in a little bit. Okay. So for example, we might even have, I don't know, some kind of cliff or something coming in here. Like, I don't know what it is, like a little bit of a mountain or something here to the right, this could be a river. Okay? And this is just some bits of mountain or something like that to the left and the right of the scene. Really simple. Just quickly put that in there to highlight what's going on. Okay, so we've got the base of everything. Base of these mountains or whatever here. Then underneath we've got the water. It could be like a river or something like that. Okay. Now I like to put in little waves, so I might pick up a bit of darker blue, bit of ultramarine blue. Okay, straight off the palette, drop it in while the paper is still wet. This way, the blue mixes together nicely and you get this smooth effect of the water. You see that. Get this blending wet and wet effect. Okay, it just looks a bit more realistic like water ripples or whatever. If you find that it's not wet enough, just get a little spray bottle out. Spray the paper again to redo it. Okay, You're going to find these areas up the top. They start to dry as well and you can get sharp reflections over the top. I'll go ahead and pick up a bit of blue, bit of neutral tint together. Okay, we can get in some sharp reflections of these mountains like this running through into the water. You might even want to redo some of these mountains and make them a bit sharper as well, the sharp reflections. And you can get some of these sharp reflections also running through on top of the soft reflections. That way you've got two different types of reflection. Got some soft ones, you've got some nice sharp ones, as you can see here, that creates much more realistic, interesting looking reflections on the water. 6. Atmospheric Scene: First Wash: So we're going to start with the drawing first. First thing I'll do is just divide this paper roughly in half. And the reason for that is we want to just get an indication of where the sky finishes and the land starts. Really, we've got a little indication of the sky coming in through the center. Okay. But apart from that, it's just a lot of this, a lot of these bits of tree branches and leaves, foliage all over the place. Not only that, you've also got branches that come in on these little angles. And I'm putting in a few little ones like this. Okay? Just to remind myself to get them in a little bit later, but that doesn't mean I'm going to draw every little thing in. I do see a larger branch coming in from the left like that, that's coming into the scene. There are some more branches here as well, but I'm not fussed about all the little details. We will work on them later as we paint. Okay, that's pretty much it here. There's like some lighter shrubs and you've got the light coming in from the right hand side. And I can tell it's coming in from the right hand side because the rocks in the water are illuminated. Which reminds me just putting in some little details for some rocks and things here. Again, these shrubs that are just highlighted at the back, then coming down the front like this as well, there are smaller slithers of rock down like that. This is more near the center of the scene, just below the center of the scene. Just creating a bit of detail for those rocks. And I'm actually trying to make them a bit more numerous and perhaps larger in size because there's not really much sharper edges in this scene. Apart from these rocks, you've got some of these shrubs that are coming down here down the front. But apart from that, there's not a whole lot in there. I'm going to get this reflection in as well, Really basic darker reflection. I'm just going to put an outline of it roughly where it comes down. You've got that beautiful sky that's reflected in the water, and at the same time, you've also got these shrubs and things as well all around. I also like that there are these little things sticking out through the water. If you can see here, just like a stick just sticking out through the water, we can get in a reflection of that as well. There's one over here too, just like a branch or something sticking out the water. And a tiny little reflection of that there in the water too. This little debris, bits and pieces. There are some trees just here. You can see a bunch of branches coming up, and then this forms like a larger clump of trees here on the right hand side. I really think I will get in. The tree coming in, is there anyway, some tree coming in from the left, branching out to this Y shape like that, But just where the water line starts out here, you can see there are some sharper bits of trees and things like that as well. I think that's good enough for our drawing. We can get started with the painting now. The first brush or a couple of brushes that I'm going to pick up, the main one I want to start with is probably a smaller brush like this one. Just the mop brush, okay? On the side here, you see I'm going to actually mix up some color. This is really just going to be all the lighter greens and blues. Before I actually do that, I think might be best if I get in the sky because I don't want to lose that beautiful blue wash. I put in a nice diluted wash of blue for the sky. This is cerulean blue. There's about 10% paint in here. Barely any paint. Okay, barely any paint at all that's just coming through the center like that. Okay. Not much there. Just a little bit to indicate the sky. You do see some bits coming in there. And that thing that the edges may be through here as well. Okay? But the other main bit is just this water here. That also has a bunch of You know, fair bit of this blue running through it as well. Going to get that in. Okay, just like that, the ultramarine as well mixed in ultramarine. And a bit of this cerulean here, su's darker down the base, you can see a little bit dark. The top is more light, you can see there. Okay, this will dry and do its thing. That's happening. While that's happening, I'm going to go in with little bits of green. I've got some undersea green, which is like an off green, dark green. I'm going to mix that with a yellow here. It's a tiny, tiny bit of this Hansa yellow. Okay, while I'm here, I thought maybe it would be good to also get in golden color. I've got some little bit gold here as well, just to get in a little bit of this indication of the rocks. Okay, running through here. A lot of this, we're probably not going to be able to see it afterwards anyway. But just a bit of running through, okay, in areas a bit of that golden, golden color because it's difficult to get it in afterwards. But all this is basically going to turn a little bit greenish. You can see some of it also just mix a bit with the water. Tiny little bits of it, little highlights there in the water of the light in the scene. Okay, good. Let's go ahead, let's drop in a bit of this green. It's still going to be that Rnacodone in it, but I'm going to mix in a undersea green, which is basically a slightly darker green. And look at that, I'm just going to drop this in here. And remember this is all really lighter colors. We don't want to put in any really dark colors in just yet. Just a quick wash that goes over the top. I don't want to use too much water as well. Because if this can dry Yeah, this dries while we're painting, then I can add in some darker paint over the top and not have to wait too long. But yeah, look at that. It's like a yellow, green, yellow, green. Yeah. A lot of it is just water. It's probably about 15% paint. Okay. The rest of it is just water. Simple water that I'll leave a bit of sky maybe coming through there. That section that moving that downwards here. In here. Okay. In here as well. This is like blending in with that blue of the sky as well. Just a little bit of that blending. Okay, Coming down and blending this in with the edges of the water. Look at that a bit more green and I can use some other greens as well. I've got some emerald green here that I'll mix up. Okay, just blending this downwards, you don't have to paint everything as well. You can leave little white highlights and things like that in there. Okay, drop that through like that in here. As we think that just cutting around some of these rocks and bits and pieces that some more, some of these may turn into rocks. Who knows? Always looking for opportunities to create a highlight here and there. A bit more of this green as well. Dark green. As we move down the page, it's just getting okay. But the main thing is we want to preserve all that light further up the top if I can, of course. And just go ahead and get this stuff in pretty quickly. Look at how it just blends on as well with the blue. Look at that. Don't worry about details or anything. We're just looking at values on the color is important because we. I mean, we've really just got greens and a bit of blue. Okay? Got a bluish green mixed up here in the sign to drop a bit of this stuff in as well. Okay, remember all this stuff is still wet. Great thing is, even if it does start to dry out too quickly, if you've got a spray bottle like this, you can just spray it over the top and get it to start reacting again, coming back to life. So then you can paint everything wet into wet. Now I'm going to find myself a look. I've got my fan brush, that's what I want. Little fan brush here. And also a small flat brush, I can find it. Little flat brush, I'm going to start putting in some of the darker greens. Okay, over here on the right, I'm mixing up, I've got some of the darker bluish green over here, I've got some emerald green. It doesn't really matter as long as you mix up a green that's a bit darker. If you've got an ultramarine blue and a yellow, just mix those up, you're going to be able to come up with a nice green. Anyhow, even that other green, I'd like to have a few different greens in here because it keeps things interesting. Not the same color the whole way through. I've also got a bit of brown here in the corner as well. Okay, let's have a look. What can we do here? We can drop in a bit of color here and create an edge of where this sunlit bush here on the right hand side, he is still there. Okay, there we go, Drop in this color. I'm always trying to make sure that I leave in some of that previous wash too, so that it's not all the same green, the same darkness running through. See how there's a little bit of light as well, that's really important. Mopping up a little bit of that green, that's a wall on me. Okay? All these different greens, they just combine into such an interesting mix. Further down here as well. You get the same deal. And remember to leave, leave some of that light there. Let's have a look in the center. It's, it's mostly just really bright greens and yellows in the center as well. But I will drop in a few bits of this diluted green as well. Diluted darker green. I do notice there's a tiny little section there that is dark in the center. I can just go ahead and get that in a bit. Okay. Another thing is that you've got a foliage reflecting colors in the water as well, this green in the water. Keeping that in mind, but obviously just painting trees, darker bits of green into the trees like this here and here. Yeah, this section here are some darker bits as well. We're really just painting in slowly, bit by bit these darker areas. What I want to do also is again just work on these like reflections in the water. And they're a greenish brown color. Dark, except throughout the back you've got something here and you can see it's just like a brush stroke that can indicate something going on back there. Okay, that over here again, some more downward brush strokes cutting around this little bits and pieces here. Reflections, Okay, that I'm really being careful not to get rid of all that blue as well. Some reflections there. The good thing is that we've also left so tiny little highlights around which is going to be useful. Really useful later on. Okay, this is spreading. It definitely doing its thing there. Continue adding a little bit more color over the top of this. Just layering wet into wet. Emphasizing that shadow here as well. This darker section, like that darker section here. Here near the water as well. You're going to get a bit of darkness. This little separation, I guess, of the shrubs and things hit the water. Okay. Just a bit of darker green in there and I've also had in a little brown, why not? Okay. Got some of this stuff coming up as well, shrubs and things, and remembering to leave in some of that green, don't get rid of all of it. Okay, now it's time to blend this in a bit more to the left. The big thing, like I was saying before, is that I want to keep some of these rocks in here. Got that little flat brush, Okay? I'm going to just darken around these rocks and things. A bit of darkness, bit of everything running through here, here, and here as well. This little section, I'm also just leaving in some of that green so that it's, again, not all the same color. It's really important. Even some sharp edges. Pretty crucial because actually we've got a sharper tree that's coming in and then underneath the shadow is actually a bit dark. Mix up some darker color. Just blend that in downwards, get that really dark color coming in from the edges. Even at the base here, Let it do its thing. And up like that, okay, becomes thicker. I'm using more paint and less water. That's how you achieve this level of darkness in this section. Okay? Having a look through, seeing what else we can potentially add in here. I've still got some tons of these greens. You notice a lot of the darker green areas are on the, just underneath the trees, the center part of the scene. Look at that. Some lighter bits here. Going to just reemphasize this part. You have to keep going into it every now and then just to readjust even here as well. I thought I could a little bit of extra darkness can help here. A bit of extra darkness there. Here may be as well. Here up the top like that. But again, not getting rid of all that light. I'm trying to keep a lot of that if possible. Okay. Yeah, it's getting darker around the edges but through the center you've got a bit of light that's preserved. Pick, got a bit of this yellow and drop that in here as well. Spread downwards and things like that. Maybe reflections in the water almost. Okay? Just a few downward bits of something here in the water. Golden reflections or whatever, it's the only time you can do it while the paint is still wet. Even here, there's some little reflections of that background area. Why not just drop in a bit of lighter paint and see what it does in there as well like that? Okay, It's a lot of water. When I drop this painting as well, it's lots of water to encourage that section to bloom and for that dark color in there to disperse out a little bit. Okay? Dropping it in in a fair few places, really, if you can tell you here up in the top as well, it's just really light yellow paint. Okay? You know, some of this stuff here as well. Just to divide this section up a little bit. The create a bit of interest running through like that. You know, even in this sort of section, hit that sort of brush on the paper that creates a bit of speckling effect and a bit of interest as you can see, okay, You can see things all starting to kind of run together and do its thing over here. I've got a little pocket knife with this. What we can do is go in and scratch some highlights, bits of paint off the page, just like this. Create just some indications of some shrubs or the grass that thing, especially near the edges of the edges of this river bank here. I want to really indicate that these shrubs and things growing here. Okay. Some areas are more dry than others, so you can do it better in some parts. If you go into an area of you scratch into an area where it's still wet, you're going to get these darker spots. And in the areas which are dry, you're going to get these lighter bits and pieces as you can see over there. Okay, here we can get something here. Just again, a few little, I'm just looking out on the paper for any parts that are a little bit dry, slightly drier, and I'll go in and go in and scratch out some bits and pieces, okay, create some interest. Okay, There is a point where you start to deviate from the reference photo and make part of it your own. And here I want to get in more of this bits of grass and things. Is something going up here like a branch. That trick is also just not to overdo it. Look at that. Something like that there. This looks like a bit of a bit of detail running through in this section, okay? Scratching out bits of tree and what have you on the right hand side. You can also do it here, like I was saying, just on the edges. And scratch off a bit of that paint to bring back that yellow for these shrubs. Going into some of them you can see just going into the water a bit, dipping into the water section there. Okay. Bits of this sharpness is so important because we've got all this darkness and soft, soft detail everywhere. Some sharp details like this really help to create extra interest in your scene. Just looking around at the top section. That top section is getting get in there. Just scratch off a little bit of this stuff at the back. A little bit of this, okay? No biggie. Okay. Now what I'm going to do, I've got a brush, little rigger, brush. I'm going to go through with some really dark paint. Okay? Neutral tint will do. And I'm going to put in some of these darker branches. Okay? We're at the point where the scene, everything is starting to dry, okay? We're going to get some sharp edges, we're going to get broken edges. And Some interesting effects where they just combine soft and sharp edges. I think this is going to make it look way more interesting. Okay, notice how quickly I'm moving the brush across the page as well. It's not rocket science, just holding that brush at the end so that we can get a loser line. And I'm trying to just imitate the reference photo a bit and put in the branches that seem to be going, weaving in and out of all this foliage. A lot of this is just almost 100% paint. I'm just picking up the paint straight from the palette. There's a little bit of water in there that's activating that paint. Okay. But most of it is, most of it is just paint. Okay. And the reason why I'm doing that is so that these lines don't really move around too much once I put them in. Because the way that we've got all these branches in here, they melt into the green. And that's what we have to do. We have got to paint this all in. Wetting to wet, but not completely wetting to wet. Paper is just slightly damp in order to get this effect, okay? Okay. And some of the branches just make some of these branches look a bit more put together. There seems to be going up like that and then another branch joining in. It's quite dark and difficult to see exactly what is happening in here. Okay? But certainly you can get in some nice little details. Okay, I'm also trying to make more randomized lines in here as well, so that it's not all the same bits and pieces. Even in here, you've go yourself some tree branches and things coming up into this section. I'm going to just get in a few bits like that. Okay, there, down below here, it's also getting pretty dark. I'm just adding in a few bits of this darker paint again, in this little twig in the water. Let's paint this in that, Something quick. I had something over here as well. I think like a branch going up and maybe just doing a quick reflection of that one too. Okay. These are a bit close together, but it doesn't matter. I should have put it there instead. All right, what else do we have in here? We've got little rocks and all that kind of thing running through as well. Okay. Some more details of these branches. I want to just get in another yeah, something like that. To just join up that area a bit. Maybe also through running through just the center, something there that's a bit better. That just looked a bit disjointed before lots of branches and things all coming in. I thought maybe why not get in something here as well, Just some bits and pieces. Where is the flat brush I got here? Pick up a bit of this darker paint and see if I can get in some darker reflection. See, this is just this darker downward reflection, okay, Of the stuff above. Okay? But we're still preserving all that light that's hitting this little mound of foliage and what have you. Okay? See how that just comes downwards and joins up a little bit. Okay, Really important here on the right hand side, I'm going to replicate that a little. This part here is actually not so light, but keep it like that. To make it more interesting, you can also do like some sharper brush. See here, I'm just putting in this imaginary grass or whatever perhaps running through here. Because we've lost out a fair bit of the details, the sharp parts in this section because of all it's all just painted in wet into wet. Some bits like that will be interesting brush strokes as well. Here, let's put in a bit there again, just a bit of darkness out the back. Join up that some of this with the right hand side. Okay, good. Give us a quick try. 7. Atmospheric Scene: Second Wash: Okay, this is all pretty much dried off now. But I will just want to rewet some little sections just over here, Maybe over here as well. The reason why is so I can get in some little bits of detail. Just scratched out, some tiny little bits of detail in here. Some bits of grass and stuff coming in. Okay, That maybe something bits of grass is growing out of the water. Who knows? Like that. Um, because we've got this great mess over here, but just not any texture through it. So some of this is going to make it look, in my opinion, a bit more interesting than how it appeared before if I just sort of scratch and add in some of this stuff. Okay. That blend a bit of this better as well. Now the finishing touches really are, I want to bring back some little highlights. What I want to do as well is get some really dark paint. And let's see if we can go ahead and put in some of these rocks or the shadows, indications, the shadows of some of these rocks. Now, a lot of this stuff is just playing it by guesswork. I suppose here little bit more brown, brown and black running through is you're going to see that there's a lot of this light coming from the right hand side. Some of this stuff is going to help a bit of continuity from the left and right hand side just moving together. Look, it's not all there. Some of this stuff is really just made up bits and pieces. But I find it's going to be helpful just to create a bit of sharpness running through all this area. Just turn some of these bits into rocks, even. Why not through here. Specks of darkness running through. Not so happy with that shadow of the twig in the water, but it doesn't matter, it's not a big deal. At the end of the day, see, look how quick I am just putting into this darkness next to some of these lighter rocks. From this, you can really start to bring bits and pieces together so that it all just looks a bit more joint. There is around here, there's like darkness in here as well. Just seeing if I can feather a bit of paint up in this region to a bit of something in there that don't too much of it, but something like that. Another thing you can do is use a bit of gush, which I love as a finishing touch. Really squeeze out a bit of that white quash, it's opaque paint and I will pick up a that same sort there is it brush and the fan brush. I'm going to use this with a bit of white, a bit of yellow, and a bit of green mixed together green mix of paint. And see if I can be a bit more yellow in there. See if I can just get in a bit of that color through here. Spray that down a bit of light. Coming back through here. If I can just spray down the page as well so that it blends nicely onto wet. This is just going to look more natural, especially when you're using gas. Tends to just overwhelm if you're not careful up the top here as well. Can you see that just some areas where I might potentially add in little bits of yellow running through. Okay, this will smooth down later on, but I like how it's granulating out and doing some interesting stuff here. A bit more yellow perhaps there as well. And you can just mess around with this, create a bit of interest if it gets a bit out of hand as well, just mop it up with the tissue like this. Okay, The guash is opaque, so it will create this misty look. So it's really important to balance that. Make sure that you make sure that you've also got still preserved the previous colors in there as well. Okay. But I love mixing a bit of guash with the water colors. It makes things look quite unique. Interesting. Something like that down here as well. Why not here? So she in that darker section? Okay. Flat brush and white guash with the tiniest, tiniest little bit of yellow in there. Let's see if we can bring out some of these rocks better. Uh, and just here. Good drink. What else do we have? I think that's pretty much it. Apart from bringing back some little bits of lights in here, we've got a lot of the previous colors and bits and pieces are preserved doing its thing. But like I said, it, it gives it that extra kick. Yeah, I really like using it, as you can see. Okay. Make this more into I call a bush that some more kind of a little bits of grass and that coming through. Why not of this reflection of it in the water as well? Just drag the color downwards like this and you can get it. This is going to make it look more natural. Maybe like a reflection, I guess, of the light as well. Fantastic. Anna is finished. 8. Bush Trail: Drawing: Right Now. Let's go ahead and start with the drawing. The first thing I'm going to do is get in this little tree line out the back and it's where the sky separates from the land. It pretty much starts out, I would say, almost about a third or about a quarter of the way up the page. Even less than a quarter if you think about it. But you can of course, alter how much sky you want to show. Okay? I'm going to keep it pretty loose, come up, disappears off like this. Okay. We've got a bit of sky and mountains and things off in the background. You've got a little bit of a trail here, but if you think about it, a lot of this stuff here, you can get this in the water colors afterwards. I do want to indicate some of these rocks as you can see, this little flatter rocks that are just lying here on the ground on this trail. This is actually one of the smoother parts of the trail. You get tons and tons of rocks in some spots, barely any sand at all, but just some smaller rocks. These really help to keep the scene looking interesting and a little bit more three dimensional so that it's not just sand. There's a few other bits and pieces in here. There's a lot of things that you can put in here. A lot of little rocks that as you can see here down in the front, all across here as well, some overlapping little rocks and things on this trail. Just small rocks and debris that is coming down this slope like that of the action here. The main attraction is this tree to the right hand side. But what I'm trying to do at the moment is just get in maybe an indication of this trail going all the way off into the back here. I like how there's like another funny little rock sticking up like there on the side of the trail as well. Let me just try to draw that in a bit better. That keep it more random looking. All the shadows, are all the shadows there pretty much just running to the left upwards light source is coming from the bottom. Almost like the right hand side, bottom right somewhere. And there's also shadows of trees that are not specifically in the scene, like this one here in the front. This one coming in from the right hand side. Okay, I might start with this tree, this smaller tree out here in the back. Firstly put in the shrub in front, but you just work on getting in this indication of a tree going up into the sky. Okay? Using the edge of my pencil and holding it, trying to hold it near the end as well. Okay? It doesn't have to be perfect, It just has to approximate what you see in the reference. And the great thing about these natural landscapes is that they're so forgiving. You don't have to, you don't have to get in the scene exactly as it looks as well. Okay. I just want to get it, make sure that you've got enough randomized line work and making that tree look a bit more interesting. Spend some more time on the drawing for these particular features. Because apart from the trees, a lot of the rest of what's going on here is pretty soft. You can't really see a whole lot else going on, especially in the sand. And that's why putting in a bit more detail for maybe some of these trees could be a good thing. The confusing thing is that they're overlapping and there's all things going on everywhere. I try to get simplified down a bit, get in the general feel of what's going on, some branches coming off. But the main tree here, that's the one that I want to get in with some extra details. I suppose that includes a little shading as well if you not necessary. But it's just something that you can do to bring out little details. You can even put in a branch that's not really there that wasn't there in the reference, but I just want to do it anyway, like that. Okay, there we have it getting a little bit of detail. We've also got some other trees here in the background that are just white as you can see there just standing out against the sky. You can see some of them just going up and creating a bit of this detail out in the background. Doesn't have to be much. There's also other trees here in the distance to the big one is here in the, the right hand side. Starts off about a quarter of the way up the page here, going up on a strange angle. Okay? But I like this because it joins up the left and right hand side of the scene. Okay? Arching towards the left. And then you've got another tree just going completely straight up with little other branch that's also going up like this. Okay. That goes up straight like that. I'm focusing on focusing on the main branches. Okay. Main branches. I don't want to bother with all the tiny little ones. We can work those in later on. I just want to make sure that I've got in the main branches in the trunk. Just extend this down a little bit like that. Okay. Not only that, you've got trees off in the distance in the background as well, but I like to draw the ones in front first where possible. Okay. This one here, you can see there's another branch and it goes directly upwards like that. Okay? And almost the more perfect you make them there, the more they stick out and don't look natural. You've, you've got to let yourself go free a little bit with the pencil work and add some few little random lines here and there. Okay? I try not to lift my hand off the page as well. Let it take me where I need to. That branch goes out and curves around. Not only that, you've got this other branch here, just coming out this side of this tree, going in down like that, and then going all the way to the left hand side. And that's why I like this tree. It just serves as a connector from the left and right hand side of the scene. The branch is going off on a tangent, that kind of thing. All right. There's even little ones just coming off the tree and making a bit of an appearance here as well. Okay. A little bit of that detail there that okay, line that trunk a little bit more. But a lot of this stuff we can put in later with the water colors. But it's good to have a decent plan in pencil before you go in, so that you're not struggling and thinking where everything should be, especially the main shapes, these main trees. You don't want to be thinking later on where to put them. That tree should be more on an angle, but it doesn't matter. I'll just correct it a bit like this. Make it go over the right hand side, doesn't matter. It doesn't have to be perfect. As long as it approximates what's going on in here, you'll be fine. Is another tree going to the right hand side? There's trees, smaller ones here, Y shape branches. This one is just going up and again, creating all this little detail is unnecessary to start with. I'm just trying to put in some of these trunks and branches that might be interacting overlapping in the foreground. Okay, another trunk going up. Okay, This one here. I can just make it go off to the right hand side. Just a quick thing like that, doesn't matter. Okay. Of course, here in the background, we've got a bit of this mountain in the distance. There's all these shadows and what have you on the ground and I'm not going to bother too much with it. This trail, as you can see, it goes all the way off to the side. But of course you've got smaller rocks and pebbles and things like that there as well. I'm just going to get in a few of these, just remind myself to put them in. Afterwards you'll notice the rocks have a little shadow to the left hand side of them. That's going to be quite important to get in. That will help to indicate the light source as well. Of course, amazing shadows that are just running through the scene. You've got these other trees as well, you've got another one there. You've got smaller trees just running up to the distance. It's almost very difficult to tell what is going on out in the background because it's getting quite small trees and what have you. But this will work. We'll be able to get some of that in with the smaller brush later, not to forget some of these little shrubs as well. Okay, some smaller green shrubs running through here. I think that should be good for our drawing. 9. Bush Trail: First Wash: Okay. I'm going ahead now and I'm going to start with the sky and I'm picking up some cerulean blue, really light cerulean blue, so it's diluted with mostly water, 90% water. What I'm going to do is go through and just get in little sections of the sky and you have to be careful and just paint around the main areas of the tree. So you can see here just a little bit of that blue in the background where the trees and this is tricky because you're going to, like I said before, you just trying to leave most of the white of where the tree branches are. Okay. But yeah, just so that you can get in later on anyway some color for the trees because you don't want it to be too blue in that area. Okay. But the trees, the main little branches, yeah, you can do quite easily like that. And the vertical lines like this with some of these other trees here. Also I find helps you really just using some negative painting. Cutting around some areas, leaving some areas white. Okay. Spread this blue out, bit concentrated in that area. Just cutting around the tree. Just looking where maybe there's some other white bits in here and stuff. No big deal. Okay, Moving to the right hand side, this is where all this planning comes in handy. The bit of work that we did before, cutting around the trees, drawing the trees in, of course, really important so that we know where to go with the brush now. Okay. Like this, It's okay if you go over some of the tree trunk and you don't get it perfect. It's not the end of the world, okay? You just want to leave the trunks of the trees if possible. Okay? Of course, all this stuff down the bottom, it doesn't matter, it's going to turn green anyway. But I'm just trying to get in a bit of blue mainly around the top sections. I've gone too far down, but always remember blue. You can easily mix a green by just putting in a bit of yellow into that blue later on. Okay, the main thing is just getting in a nice little wash for sections of the sky. Just like that. Okay, I've missed out a little bit here. Actually, let me just go back into this section like that. There, just reg that redo that bit. There we have it, we've got a bit of sky and move around that color touch where I think it's dried funny or there's too much blue in there. You only get one chance to do that. Okay, that's good. Now, moving on, I'm going to potentially just put in a little bit of green because I don't want all of this to just disappear all of a sudden. Just put you put a bit of yellow as what you see on doing, just picking up a little bit of light yellow, diluting that yellow off with some water as well. This is allowing me to just get in a bit of this greenish color there. I'm also using a darker green and dropping that in as well. Remember, all this paper is still wet When you drop in some of this paint into this wet area. You're going to get this nice blending effect and softness in there, which is really what you want, especially in these areas where I've gone in with the blue and I want to imply some mountains and stuff like that off in the background. Really important Australian landscape. It's not necessarily always green as well. You've really just like browns in there too. I'm picking up some brown ochre, dropping some of this in with the green so that it's mute down the greens a little bit. Yeah, not too vibrant, dropping that in here. And this is just to get in this indication of these mountains off in the background. Like I said, these tiny little bits of brown. This is a bit of burnt sienna. I thought I would drop in there and combine it a bit with the green as well. Okay, maybe they could imply rocks and things off in the background. I've even got some yellow, bit of yellow och, we can drop as well to make it more yellowish coming down. Bit more yellowish in there in this section. Okay. Now I'm going to heavily rely on the yellows. Now we're starting to get into I guess the four ground region. Before I do, I'll just add a little bit of yellow into these areas here to just imply that there is a tree line at the back rather than sky like this. Okay? Just a soft little section that I don't need too much color in there. Okay. And it's great. Just drop that color in and you and let it be. As I move down the page, I'm going to pick up now, this is almost like a reddish yellow color. I'm going to mix in a bit of orange bit of red with my yellow Oka, orange bit of red. I've also got this stuff like some burnt sienna as well. I'm going to try to see if I can replicate this color or something similar to it. I guess in here it's almost like a little bit more reddish color that seems to be doing okay. I'm just going to drag down as well some of this other color that all joins together. As you can see, there's really no point in this scene where you've got, I guess, areas where it doesn't join on. Because creating a sense of connectivity between the background and the foreground is so important in water colors, otherwise things look a bit disjointed. The greens are going to be fine. I'll be able to get some greens on top of this yellowy mix afterwards. Yellow orange, m, bit more yellow ochre in there as well, running through a bit of buff titanium, which is like a off white color, can drop in a bit of this as well. Just to change it up a little, get some of that to mix in that, move this down the page. The paper should naturally start to dry as you work. Most of the time. If I can avoid using the hair dryer and just do this slowly, I prefer that just if it dries naturally, I just find that the colors dry more evenly, move them around by using the hair dryer. I think that's representative of the color. Probably a little more saturated than it is, a lot more saturated than it is in the reference, but I think it's a decent little area and I can put in more of this bath. Titanium. Again, this off white color, you can mix this up yourself. If you've got a bit of titanium white and just a bit of gray, you can mix this up easily. I just want to create little inconsistencies in there. Okay, So this is all slowly starting to come together. What I want to do is work a bit on these trees and add in a quick layer for the trees. Okay, a bit of brown on the trees. I've got just a bit of brown ochre here, a bit of brown ochre and I'm going to go straight into, maybe mix in a bit of that bath, titanium and brown ochre. Let's just drop that in like that. Okay, looking okay. Very light by the way. I don't want too much color in here. A very light mix of this white and brown ochre. We're not even putting in the shadows. We just put in the basic undertones of the tree. The lighter values of the tree, a bit more brown in there, a bit of brown. Good tricks. You want to leave sometimes a little bit of white on the tree, on the right hand side as you can see there. You can either leave that for highlights or or you can just go over the top of it later. Okay. But I want to put in a bit of that color because the sky is mostly dry, we're able to do this without it blending in and causing a big mess. If we did it before, it would blend too much, wouldn't look good. Okay. But now it's fine, we can get away with it. Okay. We want to have that warmth undertones in the background, yellowish brown color. And then afterwards go over the top with some darker color. Okay, let's put in this branch there, basic details, this one here as well. We can go ahead and add in a bit of that white and brown mix together that okay. As you can see, I'm not going over all of the tree. Only some of it. Yeah, leaving a little bit of white. I'd like to create some highlights this way if possible. Okay. Some of it goes a bit further down. For some of the trees, we can get some darker trees and things like that in afterwards as well. Let's have a look. This one to the right, the left, we're just going to put in some more brown to indicate the base of the tree as I've done to the other ones. This one as well. Here's like another some of these branches that I should just give a little bit of color to, to show that they are there. Okay. Can see some of them here. Yeah. Good. Now, this area is starting to dry and I'm going to take the opportunity to pick up a little fan brush and put in a bit of color, a bit of green. I've got some green, dark green. I'm picking it up straight off the palette just with a bit of water to activate it. Look at that, I'm just flicking it through this area. From that you can get a little indication of the shrubs and things. I think with the shrubs we probably want to get in a bit more yellow. I want to get in a muted yellow for some of these shrubs in here like that, in light shrub mixing a bit of the yellow on top of it as well. You remember greens are quite muted. We're going with a mix of green. Just feather that through. I'm also not using a whole lot of water with this mix as well because it's just going to just going to help to stay put. If you use less water, anything you add in is going to move around less. Of course. You've got other areas like up here, you've got some other shrubs and things going on. You've got tree leaves and that thing as well. You can take a bit of this darker paint and then just indicate some of this up here as well. It doesn't have to be a whole lot. I also use this old brush as well, and this tends to help a bit. Okay, we'll go over the top as well with a bit of sharper paint later on. Sharp brush strokes, once this is all dried, but just a little bit of that texture in there can help to indicate what's going on. Okay, let's grab some more of that green. And again, bit of the yellow and the green bit of the white in there. Just to mute that green down a bit, so that we don't have too much going on in there. There are maybe some darker bits in here as well. I'll just get in some of this stuff here. Just the sides. Okay. Another thing that I really want to do as well is get in this shadow on the ground. Get in that shadow on the ground. But before I do that, I just want to make sure that I've got in, I guess some of the details of the rocks and bits and pieces in here first. Okay, some more shrubs. Look at that. Look at how it just melts in. Melts in so nicely to the scene. Feathering it in bit by bit. Okay, here, look at that. Just some other bits here, coming off the right hand side as well through the center there. As the paper dries, you get more like sharper brush strokes. Okay, this probably looks a bit more greenish than the reference photo, but I'm fine with that here in the front, I always like to make sure that there's some extra bits of detail. Larger strands of grass and things like that just helps to bring, it, makes it look like it's closer. Okay, You do have little tufts of grass and things growing in here, but not a whole lot. Look what's over on this side. Similar, just feather, some more of this brown in here. Just a bit of burnt sienna. Okay, looking nice and soft. So far what I'll do is let's put in some of this shadow color. I'm going to use a bit of purple. Bit of purple. And I'm going to mix that in with some brown, purple, and brown. I think that makes a good shadow color, Maybe a bit of ultramarine as well in there. All right. Just to cool it down a bit. It's definitely cool color. That's why I'm adding in some brown in there as well. But I still want there to be enough blue purple to offset it. Okay, let's give this a see how this goes. Now remember we're going to make all these shadows go in the same direction. We can probably start off here just in the foreground. There is a shadow coming in like that in the distance from some other object away. I'm going to put in some of the other bits of shadow here. If you're worried about it being too dry, you can give it a quick spray as you can see here. A quick little spray over the top. This tree here, this main one. I just want to get that in. The concentrated the paint you use, the more likely it's just not going to move around as much. I'm using quite a high concentration of paint as you can see. Of course the risk there is that you can go a bit too dark, but you still want that shadow to show through and not just blend out into nothing. I always try to make sure I've got enough strength in there. You can see all the trees, just these shadows running to the left that in the distance probably leave some of that. 10. Bush Trail Second Wash: Okay, I'm going to also work a bit on the shadows of some of these rocks. They're started to dry off and I can pick up, again, just a bit of neutral tint. Okay, a bit of brown and neutral tint mixed together. You can mix up your own gray if you want as well for this, but neutral tint just as a convenience gray that I use for a lot of things. What we can do is figure out where are some of these rocks? There's one here, I can see it. Just a rock here. And you can see the base of it is there. And the tiny little shadow may be going like that. Okay. Just work this out. There we go, a bit of shadow there like that on that side of the rock. You can pick out another one here here as well. These shadows run all in the same directions. The small details that will create a bit of interest, a bit of interest and whatever on the ground. Okay. I mean, you've got lots of them. I mean, even here, you're just putting in a bit of the shadow of it on the left hand side. Okay, without overdoing it. Of course, I'm going to use probably a bit of guash afterwards to refine this as well. Some more rocks and things here trying to keep them a bit more randomized as well. Just not all the same shapes. Over here on the ground, rod shaped rocks, see the edges of them a little bit. What else do we have? There's another rock there. Yeah, that's on. You have another one there. What else do we have? I think there was one I had put up there and disappeared now. Something like that. Okay, these little sharper segments, make another one here behind it as well. Why not here? Again, it's not 100% necessary, but it does help to indicate some smaller details. I will actually use a bit of guash on top of this in a moment to bring back details. Okay, I'm going to just work on the trees a little now and, um, darken up some parts of it. I'm using dark neutral tint, basically, like a black color mixed up with a tiny little bit of water to activate it. Maybe some blue in there as well. Just using the tip of that brush to get in the edge of this tree where it connects around there. For example. There's something here, another bit of that tree off in the back, that section. Okay. Really just bringing out the final, darkest bits of the painting. You can even see on the tree trunk there, like these little and things on the tree that you can imply what have you. Just try to get this one in a bit more detailed these two, especially because the They are, of course, closer to the front of the scenes. Always helps to put in a bit more detail. This is all sharp. On top of the previous colors as well. You are essentially essentially just layering over the top of the darker colors in there. Layering is important, it's massively important If you want to get in the detail of everything, you can't do it all in one layer. You have to do it in a few layers. In water colors. Doesn't really make sense until the very end when you look at it together to see whether it's actually worked or not. Getting that left side. And you notice I'm putting in more darks and stuff on the left side of these trees. Okay? To emphasize the shadow, there's ones that we lost out before. We can just slowly bring some of that detail back like that here. These other trees and things, little branches and all that as well, coming through this section, you can just a little light indications for that as well. What else do we have here? Yeah, there's some of these other trees as well here that potentially could benefit from a bit of extra darkness. This is the last darker layer that I'm going to do over the top of this section. Okay. What's the stuff going on there actually, what's the stuff? Sometimes if you have a bit of darker color next to the white, it really draws attention to that white on the side of that tree. Still thinking whether I want to put in gas, like a lighter gash over the top of that, I might do, I might do that actually. Okay. Work my way over to this left side. Now maybe just a quick little something here first, but here on the left hand side, a bit more darkness on the left side of that tree. Just bring it out. This one as well, like this one. Bit of something going on in there too. Okay. Put a few little darker bits. The grass as well. Maybe just to touch here and there. It's not necessary, but I thought just to balance it a little bit, you have some darker darker bits perhaps here and there, Kate. Now, final bit we're going to use go over the top for that. I'm going to dry this off with a hair dryer. First, let's just scratch off a bit of this paint. Just bring back some tiny bits of grass like I was doing before. Okay, maybe on top of these other areas here, most of this has already dried, so there's not a heap that you can do, but I'm hoping maybe some of it might be okay. Just to scratch out. Yeah, like over here for example, here near the tree trunks, always helps put in a few little scratches on the tree trunks and also near the rocks as well, on the sides of the rocks and things like that. Some bits of white there maybe as well. Okay, let's try this off. Okay, final touches. I'm going to pick up a bit of white gas, squeeze it straight out from the tube, mix it in with a bit of Nacrodone gold. You can use other types of yellows as well. It doesn't matter, but I'm thinking that some of this will be nice. Some extra bits of grass, maybe some highlights on some of the trees. I'm going to actually try that out and see how it looks first. But a bit of Rinacrodone gold, a bit of that white white guash. I'm using just a little bit of water in there to activate the guash, otherwise that's it, really, really dry off the brush a little bit, I reckon I will start. Let's try this on this side of the tree, okay? All right. All right. The trick with gashes that you just want to touch and go not too much, don't overdo it. Don't overdo it. Just a little bit of it here and there. I might have to just soften off that little section as well as well in here where it just joins on. Of course we can do it later with the, it just softening with a bit of water on the brush afterwards as well. I think that actually looks pretty good. I'm going to do the rest of the trees like that because, Yeah, but obviously I'm just doing it here and there on the right hand side of the trees. Okay. Here as well. Maybe a little bit there. More white. It's kind of like a pale yellow, really pale yellow sort of color. Okay? Little bits of that light hitting that tree, the sides of the tree as you can see there, try to make it spontaneous as well, especially these ones here in the background. You can see a little bit of it, just a little indication of it on the right hand side of the trees, they really helps it almost dry brush work like that. On the right hand side of the trees, you've lost out some of that light from before. I always find that it's a shame to waste a really nice smooth wash by just cutting around high lights. I'm not much of what do you call it? A masking fluid person as well. Okay, look at that. I mean, Guash just does the trick, but you've got to use it in such a way, sparingly touch and go in areas, and using it in a, in a way to bring out the strength of the water color. Okay? Just the right hand side of these branches here and there. There's another one here as well. You might notice that some of this area is just a bit unbalanced. There's not enough highlights and stuff running through a little bit in there could work. Of course, even in the ground, you've got these, would you call them little tufts of grass growing upwards. And I can pick up a little rigger brush, brush there is this one should do fine, just pick up a bit of that yellow and flick upwards and get in a few, a few tiny little bits of grass just coming in. Of course we've scratched out some before, but this gives it another sense of dimension. The great thing is that you can see, you can just imply a bit of a slopey ground up here as well, from the direction that the grass is growing. Don't overdo it. Just here and there. Soon as it starts to almost look like there's too much going on, stop. Okay, Coming over the top of some of these shadows. That helps. A little thing to break it up. Okay, notice how I'm drawing them in a different angles as well. Grass grows on different sort of angles, not just directly upwards up here as well. In the distance, you've got some larger bits that just go up and disappear. Something like that. He. As, what else was I going to do? Probably a little bit of highlights for this rock, rocks here on the ground like that. Just getting a bit of that golden color over the right side of these rocks. The tiny bit of that stuff going on, it has to be so quickly, hopefully together in unison, it will start looking like a clump of rocks or make a bit more sense this way, but the light next to the shadow of the rock. Okay, another bit of rock here that I'd forgotten to put on paint on another bit here. For example, going over some of these parts of the trees as well to more high light sign. And you can leave some of them white to, you don't have to put them all in with the guash ones for example. They disappear off. Might use more white because I've lost a lot of it already Through just mixing the yellow with the. Can you just picking up some normal white quash? Yeah, get in a few of these vertical strokes and things. These dead trees off in the distance could have one here. Even just trying not to overdo it. So this one can have more branches and things there. Yeah, there's actually one here, a bit more. A little highlights I think on this tree would be nice too. Just some tiny little things like this. Okay, further in a few more of these little bits and pieces, I think this helps also to line the path of grass and draw a bit more attention to the path. So many of these little rocks that I've forgotten to paint in, but I can just do them now. Indications like that it's all you need. Just a bit of, just a bit of guash on the right hand side. And you've got yourself a rock, you don't have to draw in out all the rocks, but to paint them all in. But you've got a good amount of them in there that really signify this rocky trail, especially near the foreground where it makes sense to have some of this stuff here. Okay. And I think I'll call that one finished. 11. Cliff Scene: Drawing: We're going to go and draw a line just above the center point of the scene, and that's where the water hits the shrubs and trees out the back. So I'm just estimating. Middle point is here. Give it a little bit of room. Somewhere around here. Okay. Somewhere around here. It's not yeah, I wouldn't say it's a third, maybe a little bit more than a third from the top of the page. Okay. I'm just drawing a line running across the page like that, all this stuff in the background. This is going to be quite simple to get in later on. All I'm doing is just drawing a little indication of where the trees go up. Okay, All the way. And then we've got all these cliffs and rocks here on the right hand side, which is going to take up a bit of time in terms of the drawing, but that's all I really want to do for these bits and pieces. Out the back, there's actually, you can see here is a bit of shrubs there, and then there's another lighter section like that here might imply that the back side of the back end is more darker. Now, these rocks, they come in about a third, a little bit more than a third of the way through the page. Okay. Now, with the rocks, we don't have to make them are 100% accurate. Okay? But I'm just going to place in roughly where the edge of those rocks are, where they touch the water. Okay? That back end of the rock, they're touching the water. There's a rock that sticks out there as well in one behind like that. You're just using them as general guides at the moment. The big thing is really just getting in the sense of light and dark on the rocks. Okay. Which will get in soon. But yeah, if we look here roughly in the center of the scene, we have a large rock right here. I want to get these ones in because they're quite interesting in the water. You can see it, just the light reflecting off the top of the rock like this. Okay. There's a bit of rock there, but also there's like an area underneath the rock here that's in the water, but part of it's in the water. Then you've got that reflection underneath it here as well. But next door over here you yet again got another rock. Just going to draw this one in. The sheet of paper I'm using is actually slightly different size from the sheet of paper I'm drawing on. Actually little bit wider than the reference photo, but it doesn't matter. We can just get in the rest of these rocks really loosely. I want to get in this one here as well. This one here in the foreground. You can just see coming in there. I'll shorten it down and change the look of a little bit, but make it come out the scene and get a little bit of that darkness behind there as well underneath it. A little bit of that rock is going to be cut off. Now, some of this rock is also underwater. We're going to have to remember to imply that later on, just get a bit of that effect of that water coming over the top of the rock there like that. But the rest of it, you've just got a lot of this darkness underneath the rock. As you can see just over here underneath like that there, this side here just has some darkness on the rock. This helps me to put in the shadows and bits and pieces before I forget where they are. Okay. Underneath as well, you've got a bit of dark reflection for that rock. That's a bit of water over the top. Okay? Try not to make it look too perfect as well. You got the bits of grass growing through the water. Okay? I really like this. I love these bits of grass and they have a reflection to them as well. Some of them. Can you see like reflection to some of them just poking through the water, keeping that, making sure that we get some of that in later. But for the time being, I'm just giving you a bit of an indication of where I want to put them that. Okay. Some of them are popping out in front of this rock as well. Okay. Look, what else do we have? We've got this other rock here as well there behind some other rock like that, that. That's another rock. Got a big one. Well, we've got a bunch of them here. There's like another rock here. It has a little edge to it as well that runs downwards a bit more actually, like this. There we are a bit of a rock there. You've got another one. Notice how they're all coming off in different tangents, and this is really important to make them look a little different so they're not all running in the same direction. That thing, there's even this one here that's coming out on an odd angle. But look, just make it come out of the scene, really not too much, something like that just coming out of the scene. And underneath here is just shrubs and things as well. So now we're going to get in the cliffs, areas of the cliffs and look at this. I'm just going to put in this rock here running to the right hand side. Okay. The interesting thing is just making sure you're getting in these darker spots behind. Okay. And it doesn't have to be perfect, but just some indication of some darkness running through, bisecting, creating a bit of shadow around these rocks. Interesting. Just come up. This one just comes up like this. And then you've got this darker area and then under lighter area and then underneath you got the darkness that that's like the side of it. And then you've got all this darkness underneath like that bit of rock like that beginning to make up some of this stuff as well. But like this part here that has a bit of darkness there too running into the side of the cliff. Okay. What else is this? We've got a few more rocks out. I'm going to bring some of these down here, Kate. This bit of the cliff that just sort of goes up into the side there. Maybe a rock here that's got a edge to it like that. Trying my best not to detail all too much. That's the side of the that the side there like that. Okay. You notice that there are just these little jagged areas and that's where the light hits the side of the rock. These little jagged areas and bits and pieces like this side here, you're going to get a bit of light hitting there. Okay? Getting there, good. Okay, I think we have enough here to go ahead and get started. 12. Cliff Scene: First Wash: The first wash that I'm going to be using is really just a light wash of color for everything. Okay, A light wash of color. I'm going to pick up firstly, some cerulean blue for the sky. Okay, Just a light wash of cerulean blue. Barely any paint there. It's 10% paint. Five or 10% paint, and the rest of it is just water. Okay, I just want to get in a bit of this indication of the sky, okay? Nice, smooth sky like that. What I'm going to do as well is bring some of this down into the water. You can just see in here, there's some parts of the sky that are reflected in the water and this is going to be important for later on here. I'm just dropping a bit in here. Now you'll notice there's also bits of this little reflected lights and stuff in the water as well. I'm not going to really bother too much with that. We'll get that in with some guash afterwards. I don't want to ruin this wash by trying to cut around everything. Okay? Just a bit of that blue blueness in the water here. Okay? Another thing I'm going to do is probably drop in some darker paint in there in just a moment. But before that happens, before that happens, I do want to make sure that I've got in some of the other colors in this scene. We can always rewet that a bit later as well. That's an option. Let's go ahead and let's first get in some of these rocks. I want to get a bit of warm color. Okay, This is Adonde Gold and I've got a bit of other color, yellow, ochre. And I'm going to drop in some of this yellow to the rocks. Okay, Keeping it quite light and still about 10% water. As you can see, all of this is just a water here on the side of the cliffs. I'm going to put in a tiny bit of light red color. I've got some burnt sienna as well. The burnt sienna is great. I got some brown ochre we can drop in there too. It just creates a bit more, a little bit more interest so that it's not all the same color. Okay? But keeping it warm across the whole lot. Okay? That I do want these rocks here to have at the base to be pretty light still. Okay? It doesn't take much, just a little bit of warmth up there. You can always drop in a little bit of this Nacrodone gold afterwards as well, like you see me doing. Okay, good. Now let's put in some color for the background areas. Might put in a bit of yellow. Firstly, for these bits of trees, shrubs out the front, because I'll get in some green in a moment, I'm going to, let's see what we can do. We can use a fan brush, and I've got a few different greens. But as long as you've got a dark green, dark green, let's put that in that. What helps is that if you mix up like a lighter style green here, just get in this green here first. Okay, like that. Look at that. Just a bit of lighter green along with those yellows in there. That little mixture, different color in there, different green. So you get a few bits and pieces that, that way when you go in with the top parts, it's going to create a soft edge. Look at that. Just a little bit of darker green at the top mix in a few different types. There are. Drop that in that. Okay. I don't want to be yeah, I don't want this to be too much of an effort basically. Move that into the background like that. It will fade into it will fade into the sky. You at Concentrated Paint here, there's A lot of this paint, as you can see, is just melting, melting in nicely. And I'm flicking in a bit of extra here and there. All right. But I do want the background to these trees certainly to just be a little darker than a little darker than usual. And that will bring out the light on the smaller trees down the front. Yeah. Okay. I'm going to move some of this color down the page. We'll mix up basically a combination of brown and a bit of green together. Dark brown got a burnt umber here. Mix it with a bit of neutral tint and a bit of that green. Just a muted down greeny brown color. Okay, And let's drop this in that this water should almost be dried. It shouldn't run all too much. Okay? But you just want to cut, just quickly cut around some of this stuff like this. Get it to blend a bit with the background. And you can see here, I'm just cutting around that thing as we just moving that brush around. Quick little brush strokes, that's all you need. Like this, that leaves a bit of that paint. A bit of the white of the paper. Can you see? Okay, we can move this down a little bit here. This is where I was saying, you've got bits of the rock that's covered in water. Quick spray, little spray, bottle of water helps this area. Actually, I want to darken it, but I also want to just make sure that it's wet enough. Ultramarine Believe, little bit of ultramarine blue. I'll mix that in with blue. Try, let's see what that looks like. Neutral tint in there as well. Okay, this is just to create a bit of extra darkness in this water. Okay, Bit of extra darkness in this water that's running through here. Mixing a bit. Mixing a little bit. Okay. Look at that. You can create these indications of ripples of wave. See that? Tiny little ripples. I'll have to go over the top actually with some sharper ones later on, but this makes it look a lot more interesting. You got some bits and pieces going on in there because this area of the paper is still wet, if you think about it. Okay, I'm darkening the front a little bit more as well to just help bring that forwards. Okay. Now, not only that, we do also have some nice little shrubs and things. I'm going to mix up a bit of yellow with a little bit of green, a little dark green and a bit of yellow just to make myself a bit of these light shrubs or whatever just running through here. Just something that I can flick through this section like that. Okay? And it will create a green look like this. Okay? It's mainly just a watery paint in here, not much else in there. Okay? Just some of this stuff. I want to imply a bit of the green in there, but it's difficult to do so. Over here as well. I've noticed there's a tiny look at that, little bits of shrubs and things running through the areas of the areas of the cliffs here. Okay, I'm just going to see little bits of green. Tiny bits of green. Doesn't have to be much just to indicate what's happening back here. More green here, that little plants and things, they grow in the middle parts of these rocks. Little bits of greenery in there. Here's that brown. I can just put in a little section like that, With the water going on top of that rock, it's no big deal. But something like that. 0 bit more blue perhaps in here as well. A little bit of blue. A bits and pieces are going to be interesting afterwards because we've actually got a lot of darker shadows underneath the rocks and everything like that that we're going to need to get in. Okay, a little bit of extra darkness into those trees out in the back as well like that. Just picking up the paint straight from the palette. And there's not much that I'm doing with it, just dropping it straight in there, okay? This dropping it straight in there. And this will blend, melt in there nicely. Okay? Create a bit of a contrast again between the mid values and these really dark values. Okay, What we're going to do now, we are going to get in some nice shadows running through underneath the rocks. And I'm going to mix up a color basically of a dark brown. Okay? If you've got yourself a dark brown, burnt umber or something like that and a bit of neutral tint. Okay, to mix up this darker shadow color, I also like to put in a little ultramarine blue. Helps it to granulate out a little bit, balances it out more so it's not too browny color, but we definitely want it a little bit more warm. Okay, Now I'd say this is about 20 to 30% paint. Now, probably the first thing I'll start first is just on this rock here. And then we've got to do it quickly. We're just getting a, just a few little quick indications of, of the shadow like that there. Just testing. Let's have a look. Is that dark enough? A little bit more blue and a little bit more neutral tint in there. Just a touch darker like that should be good. The shadows even have various values in there. Even see the shadow here in the back of the rock. It's not actually as dark as the one out in front. Don't need to get that in, but see how there's these tiny, tiny little bits here that a little bit darker like that. Okay, the trick is just to get these all in. Hopefully in a few quick brush strokes, were not preoccupied cutting around everything you can see here. Look, you've got a bit of this darkness here in the water as well. I really like this sharp shadow here in this rock that just using the edge of my flat brush, you can use any brush for this, that will work for you. Okay? Cross the surface, drag your brush across the surface to create some smaller shadows. There's actually a darker shadow underneath this one here, like this, quickly get that in a little bit darker sort of shadow. But you'll notice like this part of the rock is actually a little bit lighter. So look, we will put in these ones here, there we are. Just a bit of this sharpness on that side of the rock. Again, coming down the page that a bit more here you can see again, this tiny little bits of shadow that are coming off the rock like that. A little bit of darkness behind this one to the what else do we have? That's pretty much it. I think for most of these rocks here on the ground, just putting a bit more darkness into the parts of the areas of the ground as well. Hopefully, it's going to help bring out the light of the rock here to the left. Okay, Notice just how sparingly I'm applying all this paint to. Because once you get on a lot of this dark paint, it's very difficult to remove it again, it's pretty much impossible. You just want to make sure that you're doing the right thing. Going in. Look at that. Now, this area here, you can see there's some darkness underneath this rock. Okay? Leaving a bit of this light exposed like that. Yeah, a bit of darkness here on this rock. There's all these little bits of sharper shadows and things on the rock face itself, which you're basically using negative painting, which is cutting around the shapes to create the actual, the actual subject itself. See, leaving out the light essentially. Yeah, remember to leave out that light on that rock. Another bit of darkness here. I'm just exposing, also letting this side of that rock face exposed a little bit of the light there. There's a bit of light for this rock here on the right hand side, just coloring in little indications of these shadows here out in the background. We'll do this one as well, Painting the right hand side of the rocks. The right hand side is going to give you a bit of an indication that there is something there, more blue in there. Okay, Kind of exaggerated, but does the job. This cliff here just going up, disappearing off like this, but you're leaving a sea little gap in between like this to indicate the light. Yeah. It gets a bit darker up the top, so I'm just darkening bits and pieces. Okay, at some point you're just going to have to leave that reference and start creating the shapes yourself. I don't want to actually get the whole reference in exactly, It's just using it as a basic guide for these rocks. Otherwise, otherwise it's just too overwhelming. Okay, there we are. Look at that certain getting there. I want to imply some of you see these creations and things of the rock just running across like this. In some parts, in areas. Then you might, for example, just get in shadows of parts of the rock. Maybe that could be part of the rock face that's creating a shadow, a large shape like that. Okay. I think that's all right. I want to now work on some of this grass and stuff here. Fan brush is going to help. Just a bit of yellow and a bit of green here. If I can feather a bit of this here and this is going to be great. It's mostly just water with a bit of green in it. Okay. Like this. And you'll see that this is going to make it indicate that there is a little bit of this green, these shrubs and things here. Okay? Here. Okay. This is mostly just on dry paper in most parts, so you're not needing to do all too much. Look at that some more here. I'll probably have to go over it in some guash afterwards as well. 13. Cliff Scene: Second Wash: I just want to darken some of the water down here. At touch, I'll spray, spray a little bit of this water up there first. And again, pick up some ultramarine. Let's see if I can just drop myself in a bit of this paint. A little bit of that ultramarine running through here so that it just spreads better. Okay? And you've got some tiny little ripples of water, you can see here off in the distance. Pretty little, tiny little ripples. Why not just put them in? Okay. All right. I'm going to mix up a bit of guash here. Basically just want to get in some white and a bit of green together so that we can make ourselves a bit of indication for these shrubs. Bits of grass around here. Let's have a look. A little bit more green, more green like this. Okay, let's see if I can get in a few of these upward strokes like this. Like a vibrant green. Can you see that? Like a really vibrant green. So I'm mixing more yellow in there. Okay, notice how is also overlapping on top of the rocks as well, like that. Okay, rigger brush. Little rigger brush as well. Just get that in. I mean, you've got bits just running through the water, can you see that? Just little tiny bits of grass. And they are kind of actually got a little reflection at the bottom of them as well. Which I'll get some of them in a moment. But this is a way to bring back some of this light because you're not going to be able to do it without the guash now. But you can have a few little bits here. For example, some tiny little shrubs on the edges in here, for example, helps create texture. And a bit of interest running around in here. I don't want to overdo it just here and there. Even here in the background, it could potentially have some use, just a bit like that. Darken that off a little as well, something like that. To bring out indication of those mid values out the back somewhere. You have to use this que, sparingly. It is opaque. Of course, Down in the base, you're going to get some reflections of the reeds and things. I'm going to mix up some neutral tint, maybe bit of purple in the neutral tint. See what I can get myself in a bit of this little reflections and things that coming off the bottom of these reeds, bits of grass and things like that, into the water with everything else as well. I've got some of these bits of grass that are also creating a bit of a reflection in the water like that, Some more dark underneath here. The touchy yellow for the kind of tops of these wild grass bits here in the back. See them. These little kind of bits and pieces like that. I just want to indicate some of them like this basic, maybe put some in here as well. Just even in, out of touch. Keep, make it more interesting for these bits of grass and what have you. I think that looks good actually. A bit better. The Kate Little reflections in the water. I'm just going to pick up some white with a bit of activate it with water. And you can see there are these little white reflections all over the left side of the scene here dropping in that guash quickly. You can see they're just quite piled up. And then you've got like a larger reflection here there at the base like that. You're saving that white for this section. Really put a few little dots and things here on the right hand side as well. Let's see if I can just bring back a bit of shape for this rock as well. Just something, something else in here. More yellow perhaps. Maybe more yellow this rock as well. Just a little bit of extra color there to sharpen it off. You know, also on the edges of these rocks, you might have a little bit of a extra highlight here and there pops more yellow. More yellow in the mix there. Yeah, that's a good color. We can bring back a bit of this light and things in the rocks that we've lost out potentially before. Emphasizing that there is some shadow or whatever behind you see just a little, the light year for example. A couple of those rocks just indicate them a bit better. Okay, Maybe some final little bits of yellow for the yellowy green for the shrubs here. Some of these little ones just quickly put a few more in like this, especially out here. I think we've just lost a bit of the sharpness little ones. Remember to dry your brush just before you do this as well. Makes it easier. It doesn't run everywhere. Flick the brush back and forth, but you can see me doing here. I'm just hoping this will help to join everything up. More running through these shadows on the rocks as well. That actually quite a bit actually think I might darken this rock a touch like. Then I'll get some more color running through the front of it because this should actually be darker in that section there, a bit darker like that. A couple that actually go a little bit further up like this. Why not just get in one of those like that? Okay, we're finished. 14. Dense Bush Trail: Drawing: This is an interesting landscape. Starts down the bottom here like this, and then it goes upwards and then comes down again. This is a nice little walking trail, just went on for ages and ages. And you can see in the center here, this is the center part of the trail. There's some rocks and that thing through this center, I'm just outlining it very basically like this. Okay. This is a subject to slight variations as we continue. I just want to be overboard there with that, but something like this, you can see here on the side, there's like a log. And I'm going to take a bit of indication that log there and get that in like this. Okay, That there's another log, another tree that's been cut down or whatever coming in from the side. There's also another one, just change the direction of that one. A little bit like that here. These will have a nice bit of light coming off the left hand side. They're off the track. They're off the track. The trail. Another one here. A little bit, Clerk. We're just lined up. It's hard to see exactly what's happening. You've got this tree also just coming in. I just coming out like that and exiting the scene here. Okay. I'm going to go ahead and get this tree in. Okay. There we are. We've got a few others. We've got this tree coming in like that. Using the edge of the end of my pencil to get in these branches. Okay. I'm making them a little bit thicker as well. To exaggerate them when we go in later with the water colors, I will actually get in a little bit more detail than this, but this at the moment, is just fine really to indicate whereabouts the main branches are. Okay, it's important to have a combination of some of these branches that go directly up. Okay, Squat lines like this coming up like that and you also got ones coming into the scene. Okay. So many trees just growing in all different directions. Okay. That's another one coming through the side. Of course, you don't have to get all these in, I'm just getting in the ones that I think would make the scene look interesting. Of course, you can go ahead and skip some of these if you think it looks too busy. Okay, there we are, a bit of the left side of that covered. Of course, we've got all the trees and stuff here at the base. Not much is needed. There's just a lot of yellowish, yellowy colors coming up around the center of the scene. You're going to see this little tree here. It's comes in like this and then just curves to the left. I like that. I like how it just curves suddenly to the left like that looks quite interesting and then just disappears off out of the scene to the left as well. This is something an interesting tree to put in. Of course you've got so many of these other ones. And look at this one, I'm just getting it in pretty quickly. Like that up right? This one coming in on a bit of a slant, like this one coming in a slant to the left. Okay. Like I said, there's just so much going on here and it can get overwhelming. But remember to focus, focus on getting in just a few of these trees. The big ones as well make a huge difference. And keep them off the track as well. The tracks here in the center, the trees, they get thinner as we move out the back to. I'm not going to draw those just yet. Firstly, just make sure that I've covered off on these larger ones first. Which, nearer to us. It also got this one here. Look at this one just coming in from the side. I'm holding the pencil right on the edges as well. Can you see that? Just holding the pencil right on the edge. This allows me to get in a loose shape. Okay, Coming in that tree, Coming in from the side. There's a bush and something here as well. I will also put in another tree. Now this isn't in the scene, but I'm going to put in another tree coming in here, maybe exiting out like this. Okay? Why am I doing this? Just again, to indicate that sense of depth and perspective leading, leading you into the scene, okay? Of course, look at these trees. There's so many of these other ones out in the background that it's really overwhelming. There's a lot of stuff going on here. Again, just simplifying these trees down, okay? Some of this stuff I'm going to put in later, some of it, I'm not even going to worry about it, but you've got a lot of these ones out the back. Can you see just these little white trunks? Okay, all the way in the back like that. And just a quick little indication there with some lines will help remind you to keep them in afterwards. In terms of that golden color that's reflected on showing up on the trees, you've got all these little shrubs and native grasses, also you little rocks. And these are going to also be so useful because I always like to use rocks to indicate light shadow. Having some of these rocks here are definitely going to help spread them out a bit as well. You've got some here, look in the foreground, lots of little rocks and things. They get bigger as well. As you move into the foreground, always remember, increase the size of these rocks a little bit. Okay? Don't be afraid to increase size of these rocks. Okay? Some near to this tree to the left here. Okay? A lot going on, but I think this should be good enough for our painting. 15. Dense Bush Trail: First Wash: The first color I'm going to start off with is the sky, cerulean blue, really light wash of cerulean blue. And we've got to be very careful with this because again, these trees, we're going to need to get them in with that golden color on the branches. I'm taking a bit of time to just cut around those trees. Mind you, the proportion of water to paint here is about 10% paint. 90% water. It's mostly just water in this mix. Okay. Can see me mix it up here on the side. But look at that, I'm just cutting around these trees. Okay? Getting around these trees like this. Okay. You do go over the branches a little bit. It's no big deal as long as you're leaving most of it. Okay. That here? Yeah. Okay. Nice light sky. Okay. Get some of it peeking through here and there. It's not a big deal. What I'm going to do next is pick up a smaller, a flat brush, or you can use a small round brush or something like that. And I'm going to go ahead and get in this nice golden color. And I've got coadone gold here. Nice coacdone gold. Just mixing it up nice. And make sure there's a lot of water in there. Let's try that in. Okay, here it is. Okay. And some of it might spread into the, into the background, into the sky, but I'm not concerned at all about that. You can touch and go in some areas that just let it do its thing. The goal here is just to get in some of this nice golden light that's on the trees, so much of it showing through in the back there. Some of the trees even appears almost white, but they do have a yellowish tinge to them that there we go, the ones in the foreground even have a bit of yellow to the left of them. Okay? Maybe a small, small, little mop brush. This is going to help too, okay? It does carry a lot of paint, so it just makes things a touch easier if you can control the tip of that pen. Tip of that brush, okay? Just get in a bit. Here, there, out in the back. Okay? This one here, just some of these trees. Okay? This one here as well, like that. I mean, there's so much yellow in this scene, but don't be careful. We can actually mix up green. Okay? I carry this further down to the foreground, okay? Because there's a lot of this golden color here in the foreground, which I need to get in. Okay, just all here, look at that. All around here, I've got some burnt sienna as well. So she coming up close to the front. I want to make sure that I'm darkening this color down a bit. So I've got some of that burnt sienna here in the foreground. Also, a little bit of this yellow ocher works quite well. Okay? Even the smallest mop brush that I have just like manages to pick up so much paints. One of the most useful brushes that you can have really. Okay. A lot of stuff going on in here. Okay. What I'll do now is with the fan brush, I will go in and get in a little bit of green, little bit of light green. I'm just picking up a darker green and I'm diluting it down with some yellow and some water. Still about 10% mixture of paint except this is a darker green and I'm going to flicker bit through. Here. The back area here where we've got these trees. And you can see how it just mixes in so easily. Okay, These trees are not 100% green as well. It's the brownie green. I'm just mixing in a touch of burnt sienna in there as well. Look at that quick little bits of green here and there. Very simple here. Over the left hand side as well. Up here as well. Okay? Really, the goal is just to get in a little indication of those leaves, the light lighter greens in here. Okay, now what I'm going to do is work a little bit on the shrubs and things here as well. You've got some shrubs here, a bit of green mixed in here, brown and green. And you're using the water on the paper to dissolve the paint. You're using a thicker mix of paint. Basically just got 40, 50% paint and the rest water. You want to make sure if your brush is too wet to just dry off your brush a little bit as well. Okay, good. Some more browns and stuff here on these logs out in the foreground here, touch of emerald green, which is basically a darker green in some of these areas. To getting a bit of this darker green in the trees, it's not a huge deal at the moment, but while the paper is wet, it's good to do this. It's the easiest time to do it. Okay? Let's see if I can scratch off a touch of paint. Just give this a really quick dry first. Just scratching off a few bits of grass and things like that. You can use a small little blade like this to do that. Just scratch off some little indications of grass and things. Okay. You can even see it here in the foreground. But the main thing I want to do at the moment is we want to get in the dark colors, some of the dark shadows and bits and pieces. Okay? But some little scratching and things here. I think it's just going to help create a bit more interest in this area. Okay, now let's grab ourselves out a smaller brush. We're going to be using a small flat brush. With the flat brush, I'm going to mix up some purple, a bit of neutral tint purple. Mainly purple because I want to create a more vibrant contrast because we've got all these yellows. A bit of purple but of subdued down with some brown and adding a touch of brown here and a bit of neutral tint. It's not too obvious. Okay, And look at the concentration of that paint as well. It's basically about 70% paint. And I'm going to test this out. Let's see how we go here. That's pretty dark. Maybe dilute it out a little more. Okay. And also quickly, I think this should be okay. Actually, we'll get some sharper shadows in. Maybe A is on top like that of water to help encourage it to move around a little bit. Not too much though. Okay. Look at that. There we have it. What you're doing is that you're getting these trees you're finding where you've got these trees and like rocks and stuff, you are basically creating a line running to the right hand side of all these rocks and trees to indicate some shadows moving to the right. But at the same time we want to leave, we want to leave the warmth remaining on the page. You really have to be quite careful here. All right. Even here. Look at that. Just move this downwards, leave a bit of that yellow on the rock as well. These logs, look at that. It's mostly just darkness here in the front. Purple, neutral tint and a bit of brown. It doesn't matter what kind of brown. Just a darker brown to dull everything a bit. There we are. Hey, cut around some of this stuff. Paper is just a little damp that you've got this tree as well. I'm going to leave a bit of light to the left side of it and go ahead and just paint the rest of it in. Okay. The paint spread around a little bit. No big deal. Just on the right hand side of that tree. Okay. The top area hasn't completely dried just yet. I'll have to dry it off later. But you can see here, look at that, these bits of darkness and things here created by the movement of the shadows from the left to right because the paper is still wet, You've got some dampness in the paper, makes it look quite interesting. Okay. In here as well, we've got a little darkness. Okay, Like that on the right side of this tree. Okay, Let's get some of this in this bit of paint on the right side of the tree, okay? But the left side of the tree has a lot of this light still remaining. Okay. More darkness here for this tree trunk here on the ground, leaving a bit of these logs exposed to show the light pattern hitting the top of those logs. Okay, I'm going to give this all a quick dry. You can also do this thing while the page is a little damp. Just scratch off some more of this paint, especially as it runs through some of these shadows. A little bit of that coming off actually looks quite interesting. Here down the bottom, you might have some larger twigs and bits and pieces around like this. Okay? That some shrubs here. It just exposes the previous wash. Okay? Can get some larger ones in like this as well. If you don't have to keep everything the same color. But things like this rock here, you can just scratch out a few highlights later for some rocks that are on the path of Okay, This top part of the scene is pretty much dry. There we are now. That same purple paint I'm going to pick up, but I'm just going to add a little bit more brown to it brown and a bit of purple. And we're going to go ahead and work on these trees. Okay, we got one gumming up like this here. There's a branch that I painted before like this. You can see that branch coming into the scene. It's pretty dark as well, but more neutral tint in there to add some more strength to it. Okay, Look at that one. Some of these are almost black. I always try not to, try not to draw everything in, I mean, in the pencil first, because look what you can do with the brush. You can pretty much do absolutely everything here to paint the remaining bits and pieces in such an efficient way. Okay. Another tree there could be connected onto this one or not. No big deal like that. But I do want some extra darkness on the right side of this tree like that. Okay. And you've got a lot of log here as well. And it is, is in the light I'm going to mix up a bit of, a little bit of white in this mix to create some grayish looking trees here in the background that still have a little bit of light showing on them. And this is tricky because I'll probably have to bring back a bit of this light or emphasize it more later on. With some of these trees, changing the color of some of these trees back there as well helps to push them back. If you're making these ones in the back a little bit lighter, they appear further back, okay? So many of them. It's unbelievable. You could spend all day just drawing these in, painting these in. But remember, don't want to do that. A line here and there for some of these trees is more than enough to tell what's happening there. Don't get too bogged down. These are a little too dark, it doesn't matter. They'll dry off lighter anyway. Here, look at that there. Some of them just grow up quite high. I will emphasize the light on these trees in a moment as well by bringing out some of the darker, another layer of a darker green running through for some of the tree leaves and stuff like that as well. I will put in more this darker color, especially here in the, for the front tree like that to bring it closer to the front of the scene. This one here bit on the right hand side. Remember the light sources of course, coming from the left. So much going on in here. I do think dark, few more darker trees coming in from parts of the painting is going to help tie this together better because we've got all these lighter trees out in the back. We don't have slightly darker ones in the mid ground. I'm going to just pick up that same paint but with a bit more strength to it. Okay. And add in a few more like this. Okay? Running through the scene. Okay? This is creating a larger shadow. Some more shadows running through and over the top of everything else. Some of these shadows for these rocks can put this in because that part of the painting is pretty much almost dried here as well. That can be a bit of a rock. It's about indicating what's happening. Don't need to state exactly what's going on in here. Another tree here coming in like a darker tree in the foreground. Okay. Maybe another one here. Again, the reason why I'm doing this is to join up the, connect the midground with the background. Okay? We've got too many light trees, lighter looking trees back there. This will imply depth as well. Make it look more three dimensional. As long as you leave those background trees, most of those background trees in there, it's going to be fine. This overlapping pattern, as you can see, just creates some very interesting bits and pieces. Now, I always like to keep a rigger brush on me, and the rigger brush helps to bring out some small little details and draw in some small little details that make it difficult to do otherwise. Look here, here's an example. A couple of branches here that it's for. Those intricate, tiny little details can get the branch coming off here to the left even. Why not just that here as well? We can have another branch coming off and couple like that, you can just do it so quickly and easily with this rigger brush. That much thought at all, this bit of the tree, the little tiny little branches like that connecting everything up maybe one down the bottom to this tree base of this tree. I can make it more interesting like that. It's better. Looks like there's something going on in here. I do think that there could be. Why not? Just another tree running up ahead like this through this area on colors, very few colors running in. 16. Dense Bush Trail: Second Wash: Over the top of this, we're going to go in with some other greens to bring out some of the mid values for these leaves, okay? It's probably at 20% paint, okay, Running around here, notice at the bottom of the trees as well, you actually have yourself a fair bit of darkness, okay? And I'm going to use that to my advantage. A bit of green and a bit of neutral tint. I'm going to do. I'm going to bring out some very specific details on some of these trunks. Let's bring out some of them like that, a little bit of darkness within these trunks, but you're exposing the light, this golden light on some of them as well. You can coloring in between them, being very careful just to color in between them, that through this process you will create the illusion of hundreds of little trees shooting up in the back. Okay? But there needs to be, like I said, a little bit of darkness at the base of these trees. In the ****** in between the trees, because right now we don't have all too many ****** in between them. Okay, I can cut around this one a bit as well, that it's amazing how a few quick little strokes like this can bring out details. Make it look like there are details in here even though there's really not much going on at all. Okay. In some areas I'm just going a little bit. Okay. Marginally darker. Okay. While that's happening as well, that greeny color, I'm going to go in and fill in some of the gaps that you've got here where there should be some darker greens and things like that, foliage and leaves and stuff here. Look a little bit of this stuff here. Just a few little brush strokes for the green to show through that. What else do we have some bits and pieces here. There's lots of green here in the background anyway, but just another quick layer over the top. It's a bit darker as well see, but at the same time I'm trying to preserve the light that's coming through the scene. Let's go ahead and scratch out maybe a few little highlights. See if I can go and scratch out a few bits here. I do this to create textures, some interesting textures either on the trees or wherever, because in water colors it can be very difficult to do this with the brush itself. Okay. Bit of darkness for some of these rocks to indicate some shadow look just coming through and figuring out maybe some, a little bit of incidental bits and pieces like that. Okay? Bit of darkness behind some of these rocks. You're figuring it out just along the way, some of these bits that you've left out like a. Here really help remove a bit of this paint. Its tattoo dark. There we go, another rock picking out elements. Small elements like this. There may be rocks, may be nothing at all. But I find they make a difference to indicate small details because you've lost out a lot of detail at the moment because we've simplified so much. But at the same time when you do that, you just have to add in little snippets of detail that may or may not be there, who knows, but makes it look more interesting emphasizes the light on the scene as well. This could be a cluster of rocks, little cluster of rocks with some shadows running to the right. The rocks get smaller as you move into the background too. Again, we've lost out some of the darkness for the, for a bunch of the trees. You can go ahead and do this thing. You can bring some of them back, darken down some of these trees. Pretty simple that it's really just detailing finishing touches with all this now. And I'm quite happy with how it looks, but we can sharpen up some of it by adding in some little bits of darkness here and there. I've got a little bit of brown on my paint brush and a bit of the neutral tint I'm going to go through. And just again, darken down this tree on the right hand side near the foreground. Add in a few more branches in the back coming through like that here as well. I've noticed this tree could do with a little more strength there. A lot of them here in the foreground should be slightly darker, a touch of white quash. This is going to be really helpful. I'm going to mix it in with a bit of yellow and bring back some final touches, final little highlights in this scene that I potentially have lost out on. Okay, I'm going to pick up a little bit of this white, mix it in with some acrodone yellow Kate sound like a creamy golden yellow. Let's have a look. What can we do? What can we bring back? Now I know these little shrubs here, they could do with a bit more emphasis, something like that. Be very quick with these. Don't spend too much time detailing them. Just a bit of something there like that. Running through the darkness is quite helpful. Makes it look more interesting. Remember the grass? It comes out in all different angles as well. Here's some more, okay. A little bit of the light showing through. I would've liked to have a bit more light actually, but I put quite a lot of shadows there in the back. This little bit of light that I'm adding in here, although it's just a few little brush strokes here and there. As you can see, it is really making a difference and bringing back some of the light. Use it as we look at these rocks, touch there on that rock, on that rock as well. You have to do it to all of them, some of them already have some light on them already. Here, for example, over did it there. Get rid of that. But for example, these rocks here could have a touch of light on them. Like this here, where the sun is just catching the top of some of these rocks. Little strands of grass as well. Just weaving through this is going to bring that feeling of light. Okay. A few little quick brush strokes like this really does wonders. Okay, especially around the rocks as well like that. I'm also wary to just not overdo it because it can be pretty easy to suddenly turn this all into a painting a bit more of the light on the left side of this tree. Here, here, here. It's more of this golden color. Look at that, just amazing golden color running through sides. And you have to do it quickly. Let the brush skip over the page a bit so that it's too obvious that you're using the guash. I mean, as naturally as you can. Difficult, but look at that some more here, okay? Leaving some of that natural paint yellow that's left behind anyway. But over the top of that, look at that, Just a touch of this can also bring back a few highlights on these trees here in the distance as well. It's all quite impressionistic and hard to tell exactly what's in here, but some of these little branches reaching up towards the sky, they also have a yellowish quality to them. They're very thin, I didn't want to ruin that, that wash before of the green leaves going over it at the end with some of this lighter Gh accomplishes the same thing, bringing back that light here just a bit more on this tree here in the foreground as well. As it dries off, it gets a little bit, the guash dries a little darker as you go off. So I just have to redo some parts of it, some more branches reaching up all the way through to the sky. You don't upset that beautiful green wash that we had back there before. Okay. Now, last thing I'm going to do is I'll use a fil bit brush to soften off some of this squash. But I'll give it a dry first. I've got a flush. It can be any brush really. If you've got a round brush as flatbush just works for scrubbing a bit better, I'll pick up a bit of water. This is what I'm doing. Merging this area of the With the darkness of the tree on the right hand side. Okay. This makes it look I find just a bit more natural rather than have it suddenly suddenly stop abruptly to scrub on the edge of that gash and lift off. I'm not going to do this with all the trees, just the ones mainly in the foreground. Anywhere that I see some edges that I think are probably a bit too sharp and adjarring to the eyes maybe. Uh, maybe just looking a little out of place. This is, this is one of the good places to do it. Okay here, this larger tree on here as well, this is a really good place to just scrub a touch and lift off a bit of paint. Just a bit of tissue paper does the job like that. It almost makes it look a bit blurry as well. These ones in the back. Not a huge deal, just some of these ones here soften them down. It creates a little atmospheric look like effect as well as a bonus. The combination of these soft edges and hard edges for the trees just draw the viewers attention. And you look at these trees and then you look at the sharper shapes. Okay, some finishing touches just for some quick shadows of the rocks. Emphasize them a little more with whatever leftover gray that I have on the palette. This is going to help make the scene look a little more interesting here and there. It could be rocks there as well. Why not put them in? Oops, that can be a rock here, perhaps. Anything to just add some resemblance of detail in structure to the foreground is going to help with this scene because we've got so much going on in the background and a lot of loose details as well that get lost out. We are finished. 17. River Trail: Drawing: Let's get started with the drawing. The first thing I want to do is put the area where the cliffs or the trees out the back touch the ground and it's where the sky meets the Earth. I'd say it's about just just over a third of the page up. I'm going to draw a line roundabout here, okay? Give me enough room to get in. First of all, this nice river that runs all the way through actually goes all the way down there. But we can only see a slither of it just out the front like this. And I'm going to exaggerate it, make it come forward a little bit more. We've got these bits of wood here, bits of tree trunks and things like that that we can put in. And just get in indication of this one as well. Okay, There is a few in here, but I just want to get in a indication of them. I'll try to make it not not so detailed as well because I want to go in later with the water colors and get in most of the structure of it. But this one here at the front, just a little bit more outlining for that. You've got this one here near the river bed. There's also the shrubs. You can see here going all the way in. You've got shrubs, native grasses that just go up in there. Not only that, you've got these rocks that stick out near the river. I want to just put in an indication of some of these. Take a few that catches my eye and just work on getting in a little bit of that detail. Okay. I love how they overlap and they form interesting little shapes. And even they just come down into the water like this and notice the shadow is to the left of the rocks as well. Interesting light source. This light source is coming from the right hand side of the scene. Right hand side of the scene. Okay. There's one here near the water as well that you just picking and choosing. Some smaller ones, some interesting rock shapes. Here's a larger one here. It's an interesting right hand side like that. When else do we have some more? The front of the scene, a left side of the rock. You can see that, that same shadow pattern that we want to emphasize. It's not important to get all these rocks in just to have a few, a few of them to indicate the light source and create a bit of contrast in here because there's so much going on as well. We can make the rest of these up as we go. Great. You've also got now this tree line up the top and the cliffs, they come in just above the halfway points. I'm going to estimate it out here. Okay. And you've got all these cliffs. You can see them just coming down in interesting patterns. And you can see where the rock has little cracks and cleaves in it as well. This is where you just want to draw a few darker lines like this there to indicate indicate the structure of these cliffs. Okay. Little cracks running down like this. Again, doesn't have to be all too detailed, just enough to indicate what we've got, what's happening in there. A bit more jagged up the top here and we can see this tree line then just goes up all the way into the right hand side of the scene. Roughly around about there. Okay. But all across the rest of the scene you've got green trees that stick out across the top of the cliffs. Okay? Little bits of these trees that you've got these like tree trunks that stick out as well. You can barely see them, but they're like these white tree trunks that stick out. And I'm probably going to just do those in some guash afterwards. I think you'll be easier to get them in that way. Okay, here we go. Lots of these trees over here. We're going to do that later in a bit of wet and wet work. We've got this white dead tree here. I'm just going to draw that in on the edge like that. Light source is interesting, it's coming from the back, right? And you get this shadow pattern cast by all these trees and perhaps some trees outside of the frame as well. Here you've got this trail and the grass that just runs across bits of debris and stuff here as well. Twigs all running across the side. We're going to have to just make this a little bit more messy later on, but this tree here is probably the centerpiece of our scene. I'm going to put in a bit more detail with it. Let's pop it in. It's roughly coming in about here. I'll get the trunk of it. Let's, let's do this like that. Okay? And see it goes all the way up. And then there's a branch that just goes off to the left like that. And then another one that just goes up and disappears off. Okay, Mike, bring this down a little further, something like that shaped branch like that disappears off to the rest of the scene, But we can get in some extra details for these branches, as you can see, just coming off the side of the tree and then trailing off into smaller little branches. Okay, we've got another one coming up like a smaller branch here that's just disappearing off to the left like that. There's all this darkness as well for the leaves that you can see surrounding the tree. Okay. We've got branches, the bit of paper that I'm using is, is not as long as wide. Sorry. Let's continue on. And I know some of the tree there should be writ more in there, but I've just cut off a touch of it. Another branch just going up there. You can see these branches just go off and all funny little tangents, things like that. This is going to make it look more interesting here, but I'll leave a lot of that for the water colors later on. I wary that you can also put in too much detail. Spend too much time with the drawing. Okay, this coming in. There's a tree to the left hand side as well. You can see it's like the trunk, but you've got this larger shrub coming in here, extending downwards there. You got the shadow of the tree behind as well. Down here with all this wild grass that. Okay, let's have a look. The bar comes off on this gives this sort of patterned look to it. Almost like that, almost vertical. Okay, let's have a look, maybe another branch here or something just to keep things interesting. Yeah, there's this bigger tree basically, and you can see the trunk of it go up like this dark there. And then there's another bit that comes up like this. This connects to all these other trees and things. And there's one here as well. There's another tree with a lighter trunk there. You can see it just go up in this Y shape and then disappear. Okay, this is going to be important to just indicate where the foliage is coming from. I might even put another one here just on a funny, growing on a funny little angle like that. You've got all these little trees also just growing on the side of this cliff. It's going to be in, might think of maybe putting a figure, maybe putting a purse and a couple of people here just to give it a bit more interest whether I keep these people in here or not, we'll see. But yeah, couple of people there. I want to also work on maybe putting in the shadow. The shadow is going to be interesting, like I said, it's coming from the right hand side of the scene. You're going to get the shadow moving forwards like that, just in front of the figures, even just underneath their feet like that. Okay. Something simple. Got a couple of figures maybe just standing around, having a chat to each other. That thing, all of this grass, we should be ready for our painting. 18. River Trail: First Wash: The first thing I'm going to start with is the warmer colors. And I always love to start with the warmer colors because it's difficult later once we get in the greens to preserve them, they tend to turn a bit greenish. If you're not careful, I'm diluting down a mixture of Rnacrodone, gold, bit of yellow ochre as well in there. This is for these mountains, the cliff areas out in the back. I want to get into nice golden quality to them. Nice golden gold color to them. Let's just go across like this. Why not just do the whole lot at once? The yellow ochre that I put in there for me, it just makes the golden color. Just double it down a touch. And it's the same thing with browns. Like this little bit of burnt sienna that I'm picking up, just dropping through in here as well makes it look a bit more realistic. Even if you've got a bit of gray here as well in the palette, a bit of neutral tint. I sometimes like to just drop in a touch of that. It's near the base of the cliffs, but for the most part, look, we just want to get in a nice golden quality to everything, even on over these trees. Same thing, because I'm going to go over the top with some lighter green as well. Okay? This is just going to keep, keep it all in one wash. Okay, Little rocks as well. Let's put in a bit of this golden color. Do have a bit of this other color, which is like a grayish color to just drop in a bit of that. As long as there's some light in there, you completely fine. I'm going to just start putting in some also joining this up, this grass here in the background. And a lot of it is green, but like I said before, you won't know the difference after once we get in all the greens over the top of this yellow. Okay, I'm just cutting around these trunks a little bit to leave out some highlights potentially for later this tree. I don't think I'm going to need to bother. I'm just going to just get it all in with a bit of this golden, yellowy color. Also trying to make sure that I keep it pretty light, as light as I can. So you're looking at a 10% mix of paint here to about 90% water. Okay? You don't want to overwhelm this entire scene with a darker colors or too much concentrated color. Okay? Now, moving down into the foreground, picking up again some yellow ochre. And I do have some of this other, again, this same bath, titanium off white color. Dropping this in all the way down into the ground and letting it do its thing. Okay. Might put a little dark, muted down brown in the water as well. Just to connect it all up like this, it's like a brown color, maybe a touch of green. Later on, we'll see how we go. These logs, grayish, tinge to them. I'm just going to put in a bit of gray or something over the top like that. And then we'll bring together everything else. Orange, yellowy color here as well. Lots water. There's so much water in here. I just want to get that color in quickly. Now, there's an edge up the top here for the cerulean, the sky, and I'm going to just use cerulean blue. Lots of cerulean blue. And I'm going to make the blue a alittle bit more concentrated so that the mountains and the cliffs and stuff stand out better. Okay, I'm going to get some soft edges, but also I'm leaving a bit of space in areas so that creates a sharp edge in some parts. Okay, look at that. Just wash that blue pretty strong. But with cerulean blue anyway, it's difficult to get it extremely dark. It's impossible because even if you use it straight from the tube, it's still fairly light. But you can get a good amount of strength with it to cut around. Basically cut around everything else, the cliffs and these tree branches. And notice I leave a little white edge over some parts of the tree so that the blue doesn't mix in completely and leave a big mess. You see parts of the sky peeking through over on this side as well. Next to the green. I just getting in a bit of this blue like that. But apart from that, the rest of it is quite smooth. It's doing its thing here if you want. You can even put in like a cloud or something like that running across the top of the scene of purple or something like that. For a cloud in the purple and neutral tint, for some grayish color, something like that, I don't want it to be too obvious, but little drop that in, give the sky a bit of character. Okay, now the rest of this is a lot of, it's just going to be wet and wet. I've got myself a fan brush, and the fan brush I'm going to use to pick up some different greens. Firstly, I'm going to pick up really vibrant yellow. This is basically a Hansa yellow and I've mixed it in with the darker green color. What I want to do is just get in some of the lighter values of the green. Okay? For instance, this bit here. Okay? We've got some lighter greens there. All right, here as well. Okay? Just picking out a few areas. Even here in the background, you can see they're kind of mid values. So they're not the darkest values and they're not the lightest values in the scene. But they certainly are important because they tie everything together, having a combination of lighter and darker values. We want to just also make sure we're leaving, leaving lights in here. I've got a bunch of darker greens and you can mix them up in different ways yourself and you essentially just add in more blue, more yellow in some parts, or you just pick out a few other greens that you can find, different tubes. Hookers green, emerald green, just to keep it varied. But again, it's not 100% necessary. You don't need to have so many of them if you don't have them. I just like to have a few different greens in here to keep things interesting. Let's have a look up the top here. We've got these bits of trees and stuff that are sticking out of the cliffs. And I'm going over the top of these areas of the cliffs as well. Just some parts. But mostly these areas here where we've some darker trees keeping it, keeping it more interesting. Okay. Now that the shadows of these trees, I'm going to actually do them in a bit of a Yeah. A bit more of a loose manner. Okay. And at the same time, I'm also mixing in some brown, tiny bit of tiny bit of burnt sienna through here. Okay, see what else we got? We got some greens here as well. Just mixing in a bit more of those greens in here. Running through that area of the water is pretty much has disappeared, so we'll have to get that in later on as well. Just getting in more of these greens, it's tricky because we also want to preserve the bunch of yellows as well. Go a look around here. We've got some here here in the ground as well. You got some grass and stuff growing. All this little wet and wet work makes it look more interesting. I can even pick up some more yellow ochre and just put some of the yellow in as well. Um, and maybe some shrubs that are, or bits of grass that are dried out. Okay. But at this point we all I'm trying to do is get a nice cohesive blend to everything so that there's a nice little guess back in color to this scene. Okay, it does look a bit more green than I've intended, but we'll make just putting in a little bit more of this buff titanium white color in there to just get in a bit of volume. Okay, what else do we have? Some more of this yellow ochre. Okay, flick some of that through like that here, all the way to the back. You notice all of this just melts nicely into the scene. There's no part whatsoever that looks too sharp, maybe here and here, but apart from that, we're looking pretty good. This will start to dry bit by bit. While that's happening, I'm thinking to myself, well, we want to put in some shadows and look at the darker areas painting. The first thing I'm looking at is obviously these shadows on the mountains. Some of them, they're actually shadows. I think we'll probably just leave them to afterwards. For example, up here, we can give that a bit of time to dry and I'll work on some leaves, Some areas up here that just feather in a bit. While because the sky is still wet, we can do this, some of this green is pretty muted as well. I'm just mixing in a bit of brown and what you may call it, a bit of brown and a bit of the neutral tint in there. Okay, look, just getting in some of this mess that we don't want to overdo it. Just simplify the leaves and have some in there. I can go over them again a second time afterwards. But this is just to put in some real basic volume over this area of the tree. Okay? Slowly, just building the detail in the water colors here in the back of the tree, you'll notice there is a darker section, some darker sections that are helping to bring out the details in the tree. Okay? Because you've got the tree which is basically really light. There's a lot of light and brightness in there. Okay? This softness, this soft, darker color that I've got here in the back. Okay? I can actually darken it quite a bit if I want to. This is going to help to create shadow. And a bit of interest back here, okay. All different sorts of greens that I've gotten. This is going to melt in and create some interesting effects. Okay, that's too sharp. I just want to get rid of that a bit more normal, Dark, like lighter green maybe in there. Yeah. Okay. That's better. That um, a little bit of shadow or something running in front because again, that shadow is running in front of the scene because of this interesting light source, we can go through here and get in a B, that shadow. But I think the best thing to do is just to wait a little bit until later and put in a bit more sharp shadows over that side. That way, we can have a blend. We can have some sharper, and we can have softer shadows that are running through the scene. You know, here we've also got darker, you see that just little darker spots of grass at the base of the base of the grassy areas. There's some here I can pick up just some brown and mix that with neutral tint as well to get a browny color. And put in just some other shrubs and stuff that create extra contrast. So it's not all just shrubs running all the way through this scene. We've got a few things going on. More, a few little tufts of grass and things here as well. Okay. I do also like to carry or use one of these. It's like a little knife that I carry long. You can use this to lift up highlights in areas where you've got partially dried paint like here, you can actually scratch away and create bits of texture. You've got to look at where you can do it here. Lift off some paint here as well. You can lift off a scratch off a little bit of this paint that's dried. This creates little areas of contrast, I suppose, of grass and bits and pieces. Things that you want to imply, details that you want to imply. All these little sticks and things on the ground. These are difficult to actually get in. This technique works quite well just to scratch out a bit of the paint, revealing some light behind the scene. You can imply these sticks that are just on the ground and they're all over the place. There's even some in the center of the scene here. Okay. But yeah, you have to wait until the paper has almost dried. It's all about timing. And then basically just go in and scratch out, scratch out that little detail and paint in there. I'll probably go in as well with a bit of guash later on to further emphasize that. But this is a great little technique. I love using this technique to create details, indications of grass and stuff like that in the distance. Okay? You're not using any gas paint. Just scratching out helps create texture. You can even do it for branches and things like that. You could have a branch that comes out here, I don't know here as well. I find that it's quite a powerful technique to create details when there's none there. Got here here even. You can put in a bit more. Scratch out a bit of that to create some extra branches and things, you know. All right, good. Okay, I'm just going to get rid of a bit of this paint here and maybe put in some yellow. I've lost this branch a little bit before, but I can still lift out some of that paint and just recolor it again with some yellow here like that. There we go. Just a little bit of something that looks better. Okay, also I think I'll go over, let's have a pick up my flat brush. I'm a big fan of flat brushes as well. They create some sharp edges, interesting looking edges. I'm just going to go over the top of this tree here. I've forgotten to get in a bit of that yellow off the tree end of this one as well. Okay. May not stay, but I want a bit of yellow running in for that one. These areas here have really started to dry off and we can test it. Yeah, get in some sharper shadows. But I think we'll just dry it off. We'll make it a lot easier to work with. 19. River Trail: Second Wash: Okay. I've got my fan brush and I've also got my flat brush. Okay? And I'm going to start over with these trees here on the right hand side. And I'm going to mix up a, a darker green. I've got some blue and a bit of dark green just mixed together with about 20% water. Most of it is still paint, and I'm going to test that out and just see how that looks. Okay. Now the main thing I want to do, the main big thing I want to do is just get in an indication of this shadow running to the left. Okay? But at the same time, I want to leave out some of the trees. So you're going around cutting around areas of the trees that you can just identify. Okay. Really just trying to get this shadow in. I'm using now a really mangled up round brush actually, because I thought this might just get in the more random you are. I think with this sort of stuff, the better. I'm just going over the top like that, it does look too green. I'm putting in some more neutral tint in, There may be a bit of brown, tiny bit of brown as well, to warm this up a little. Okay, But you've got obviously like these larger trees that are running through here, over the top and cutting around technique here just to leave in a touch of those trees. I think that's going to be helpful. Okay, This tree here around a touch as well. Most of it down the base here is just a pretty dark, it's not a whole lot we can do, lighten up some of this green and I'm going to put in some indications of the tree line here, okay? Some bits of this tree line and bits and pieces coming out the back like that, okay? Okay, down the base, I'm just making it quite dark. Adding more neutral tint down here, okay, Really creates some full on contrasts. An interest in here, but being quite careful as well that we don't overdo it. Because I want to leave some of this yellow for the shrubs and things that are here in the midground of the scene. We want to leave some of that. We want to get rid of all of it. But I do want to make this shadow obvious. Running to the left hand side there, you see just like that, some of it going into the hills, perhaps like that. I reckon. I'll go over the top with a bit of guash afterwards as well, to bring out details of, of some of these trees in this mix. Okay, what else do we have here on the ground? There is this other one here, this bit of darkness behind this tree. It's creating a sharp shadow behind and going off into the back like that. Not just that, there are some other trees and branches and stuff that are creating sharp and pieces that we can just flick in and create some softer edges. And that thing here, look just using this same flat, the fan brush to go ahead and build this contrast up in between to create some extra sharpness for this tree. I find that really helps. I might overdo it. Just get it to come over a further up like this to, to bring out the side of that tree. Yeah, here as well. It's basically negative painting where we are cutting around the shapes already there to create some contrast. Okay, You really have to try to leave that lighter part of the tree in the trunks, especially super important. Okay. You know, we've even got Bits of the shrubs here that are in some spots. I'm going to just indicate some of that here. It's all the same color, not all the same value as well. Just a little bit of this coming through, like that bit of neutral tint and repeat with some of this stuff here in the foreground, like these twigs. And that you can see there are all kinds of bits and pieces just running through it. That he, I was also thinking to myself whether I should put in some, some larger shadow running through, but we'll consider it later. This is just a bit of neutral tint. Again, I just want to create a bit of shadow here. It's the same stuff where we're putting in underneath the log. There's little bit of darkness under here. A touch of that there along the side of the log. This other one as well here, creating shadows, bringing out the shape of the log. Really almost with this shadow going to blend it with some of this other color as well. Just adding a touch of that. Okay. I'm really thinking whether I should put in some softer shadow here on the ground. I think I'll actually do that. I'll give it a spray first like that. Just a little spray with my little flat brush here. I will pick up some color, bit of purple and a little bit of purple and a bit of neutral tint mixed together. I'm thinking, how can I do this to just make it look more natural? Something like something like this, you know, coming out from the back of the scene like that. Spray it down to make it just like spread out a bit further. Okay. Um, a softer shadow, I guess running from the back of the scene forwards. You might not want to do this actually, but I thought I'd give it a go just to indicate potentially a tree coming in from the back end. Bit of interest, the shadows of this tree here. Because I want to join it up a little bit with the right hand side here. Okay. There's just too much. I thought that there was a bit too much. Too much sharpness in the ground bit of this. Okay. That's doing, creating some interesting little patterns there. I'm going to go work on these rocks now. All it is, is just sharper details. I'm picking up a bit of brown and a bit of neutral tint together, finding parts that I can just draw out. Sharpness, darkness on these rocks like there. Look at that. It's quite a lot of darkness on the left side of the rocks joining them together. Look at that. Just finding ways to join the shadows on with the rest of the rock and the rocks around them as well. See, look at a bit of darkness and this indicates the light source. Okay. Coming from the left hand side. Okay. And the quicker you can do this in terms of just getting in the general shape of these rocks, I think the more natural it, it actually looks okay. Bit shadow there. There's some smaller rocks as well. You notice a tiny little rocks in between and near the river bed as well. Just little bits of something here there. And we've preserved that yellow from before, so it's still makes sense. Okay. You can even indicate like a larger rock or a boulder over here too. That could be one. This could be another boulder or something on top. It doesn't have to be perfect, but yeah, you can make up different shapes and add in different rocks in there if you'd like. Okay. That slowly starting to come together. I'm just looking at what else we can do. Like out in the back, for instance there are these cliffs. And I want to put in some lines to indicate the cracks and stuff like that. So again, the edge of your flat brush and going in and very, very gently just indicating drawing over the lines that we had indicated previously for these cliffs. We can go ahead and indicate them better. Okay. That it doesn't take much, just something like this, to do it once as well. I think the more efficient you can do this, the better. Some parts are actually quite dark to think of it. This part here, little bits of darkness and these cracks and things that you find on the cliffs carrying some of these. There's a point where I just stop even looking at the reference photo and just start doing my own, my own thing. I think I'll actually later on as well put in a bit more detail for the cliffs with some gash, just some highlights on top of the cliffs to bring them out better down the base as well. Like a bit of darkness, not too dark, but little bit of something down the base like this. Interesting, really interesting shadow pattern for this tree. Okay, some of this stuff has started to dry off quite nicely, so we can see how we can just go go in and scratch out a bit of it like that to create texture. So that's something I love doing. Continuing to create texture and detail in these areas, it's so hard to do with just the brush alone. Sometimes, if you can get away with using a little tool like this, that's the most beneficial thing to do to your paintings. It just creates a bit of extra detail. Okay, you can see some of the branches of the trees in here as well see run through that area. I can just put in indications of those. I reckon I'll use some guash afterwards to just bring back some of the light in that section as well in the water area. I'm just going to darken this down with a bit of brown and a bit of neutral tint underneath. It is around about here where the water, it is a touch darker than the surrounding area. But at the same time we just not to overdo it. I'll make it darker, but I'm going to also, so soften it down to touch the edges. Okay. So that it just melts in with the rest of the scene here. Just soften that edge there. Okay. Like that. But of course the river runs all the way through to the back of the scene over there. Okay, good. You can also soften down some of these areas where it touches the rocks to where it looks a bit too harsh. Just rub away at it with a clean, clean water and a clean brush. Okay? All right. I think I'll give this a quick dry. What I want to do now is just go through and get in the final touches, the darkest bits and pieces, as well as also put in some smaller corrections and mid values. Same two brushes really. I'm going to be just using the fan brush, the flat brush here, as well as an old round brush that has some splayed tips. Okay, firstly, I'm looking at that tree and I'm thinking to myself, what's the darkest parts of this tree? I can say that up the top of the tree you've got this is really neutral tint. It's only about 10:20 percent water. You can see here that there is like some really dark spots. I'm going to just go in all at once, really with a bit of that neutral tint I'm putting in the dark branches that I can get in. Okay. All at once, you can see how some of them just go off like that here as well. Just try to get in the final bits and pieces of these branches underneath the branches. That's where you notice like some of the shadows. Okay, It's interesting light source because it's not so obvious exactly that it's coming from that right hand side. Okay. A little bit of that for the tree. You've got a bit coming down here on that left side for the tree as well. Okay, so have a look, you've even got these leaves at the same time that are just blending into it. But my main goal here is just to get in a bit more definition for the branches of some of this will be done. I also use some gas later for them, just a little bit of that darkness to bring out the detail on the tree in the background as well. You notice all these darker green values. I can just mix up a bit of that green and the neutral tint and bring out the values there of try to get in some darker leaves. You can see the really dark here up the top. I can flick in more paint like this and get an indication of those darker leaves running through. Okay, here's some more here. But the main thing I want to preserve is if you look at the trunk of that tree, that nice golden color on the trunk, we want to keep that there. Okay? But just everything around it. Everything around the tree, we can a darken and create some extra detail if we want. Another thing I'd like to do the broken edges. I love creating broken edges. It's not all the same. All the way through. And have a look what we've got here. This is like the side of that tree there. Again, just a bit more color there and oops, didn't mean to do that. Get rid of that. It's always easy to lift off paint while everything is still wet, lots of stuff going on. I mean, all these little branches and bits and pieces everywhere. You even smaller brushes like a rigger brush can really help in these circumstances. Like this little pointed rigger brush that I have here, You know, if you want to get in some smaller, more delicate sort of branches like that, helps for sure. Okay, where is that? There it is. It's my trusty flat brush. Just going through and finding some extra branches and things that we can draw out of this section. Just some darker branches, I guess details bringing together all the darker sections of the scene. I like how I've left this area here lighter as well for the tree. I can actually just go around and cut around that tree a little bit like that. It's that combination combining all the different values that makes it really interesting to look at. On the tree itself. There's actually stations and things on it. I really don't think I need to do all that much. Just a little indication, maybe like that, something like that. In between these two trees, maybe a bit of sharpness again, some dark and neutral tint in the center. You've got branches that just go off on funny tangents as well. Don't always just go up, but they come back down and circle around that thing as well. Here is some another branch that's connected to the tree. Again, just emphasize that with a bit of darkness. Using broken edges, broken lines as well. I'm stopping and then continuing on. Leaving a broken edge in places. It makes it look a lot more interesting. Even in the cliffs back here, you've got areas that are darker. And this shadow here you tiny little bits of grass that some of the piece, bits of grass at the bottom are darker as well. Here, I can just add in a little bit more, some darker strokes for that grass over here. We can put in a few other strokes of grass and things like that. Just coming up in areas and breaking up this yellow touch running through like that here as well. I've actually made the front of the scene a lot darker than it's in the reference photo, but I like that because it actually brings out the light in the rest of the scene here, some darker bits of grass and things always remember that grass grows in all different directions. Don't make it all grow in just one direction. It looks more interesting if you've got a bit more going on in there. Some lighter green marks, again, over running through even here where the people are walking, that's another thing as well, these two people. What we're going to do with them, I think we will. I'm going to use a smaller round brush. Go with a bit of blue turquoise, maybe turquoise color for this one little turquoise. What about the other person? We can go in perhaps with a bit of a bit of muted down, warm red color, something like this. There we are. Just mute that down a little bit. Mix a bit of green into it and it will it down. Okay. Want to keep them a little bit lighter like that. The legs all at once. I'm just going to put in dark legs like this, connected on with the body like that. There we are, just walking off into the distance and with the tiny little shadow maybe in front of them like that, it's not much indicates that source of light. Again, I didn't want that. It doesn't matter. Just rub this bit off with the. Oh, I'm making it worse. A bit of clean water and then lift off like that. Okay. So you can see that light source of where they're walking, going in front, which is consistent with the rest of the scene. Okay, what else can we do? Maybe a bit of red for the head area like that. The touch a hair as well, a bit of brown and a bit of black together that Kate just soften this down. This part where the pants connects onto the body like that. This brush that I've got here. Now I'm going to start to go in with some, I'm going to put in a few more strokes of some darker green bits here. Just running through this log, that thing here. Just make some smaller running through the center like that here and there. Slowly, just building up a little bit of detail. Okay, time for a little bit of white guash and lemon yellow. My goal here is to get in a little bit more contrast for these cliffs. Tips of the top of the cliffs. And things just maybe draw it out better. Yeah, there we go. Just to bring it out of the sky. Touch like that. In some areas we don't have to do it for all the whole thing. Just the tips of them, I find that can this is going to help. Okay. Like that there almost like getting in a bit of a light on some parts of the cliff in the background. It doesn't have to be much, just some little alterations like this. Good. These rocks as well. In places where I can potentially just drop in a bit of a bit of gash to create a better high light. In some spots I don't need to do it for all of them, but just some of them where I might have lost out on some of that light. We can bring that back quite easily like this, Even on top of these logs and things like that, we can bring back that quality of light on some parts. I don't want to overdo it just a little bit here and there on the tree as well, that guash, let me just see what can we do. There's maybe a bit of like a branch here or something that's that I want to bring back here like that. You've got to use it very sparingly, that's for sure that in the background you've got kind of these smaller trees. Maybe a rig with some white guash in It would be good to just bring back some trees out here in the distance. Let's just see what we can do. I had like a bit going up like this before. That's too much. Something like that. Yeah. Dry off the brush more. There we go. There's a tree here that I missed out on, this kind of white dead sort of tree here. We can just bring back a little indication of it, I suppose. Like this. Okay, a little highlight on the heads of the figures, like here, shoulders maybe. Okay, like that. There just had a bit of detail. A little fan brush, again, going to mix in a bit of yellow into the gush. And finally put in some brush strokes like this for the bits of grass potentially just running through like that to finish it all off a little bit that you're using. Not much at all like that. You even get some maybe on the ground here. Just break up this larger mass, darker mass of color, I suppose just in moderation, some of these fluffy sort of things here as well, and we're finished. 20. Rocky Scene: Drawing: All right, let's get started with the drawing. And I'm going to put a line in just above the midway point about here to mark the edge of the water. Okay, Then I'm going to just come in around about the center point of the scene. Okay, Around here. And I'm going to outline roughly where these rocks are and where they exit the scene. Roughly around here, okay? And you've got to realize that in this scene we've really got really large rocks in the front of the scene. We've got this one here. This one, actually, funny enough, looks a bit like a triangle. If you look at it very carefully, it looks like rough cut triangle like that. Sometimes these rocks, they crack in some really unusual ways. There we have another side of this other rock, this larger rock here. Okay? It doesn't have to be perfect. All right, let's have a look. This one pretty much goes out of, out of the whole scene. You've even got some bits here that are, this is basically just darkness underneath here. Darkness here as well. Interestingly, this part has a bit of light on it. I'll just to erase some of that pencil work like that. Okay, we've got darkness behind here that the lights basically coming from the top left hand side, it's illuminating a lot of this little bits of detail here. Okay, That's part of that rock at the base, but it's basically just a bit of grass or something like that there. We've got a part of the rock that comes out and forms do another part that sticks out of the wall. We've got some other darker bits here on the wall another bit that out disappears behind that. Okay. And then we've got another bit here. Again, comes out like a darker segment of the rock like this, bit darker. And you've got a slither of light coming over the top of that rock like that behind that rock, we've got all these vertical bits and pieces. Like this piece of the rock comes out over into the cliff area. Okay? And I'm going to just draw in some real basic cliffs like this. Okay? Just like that, following the lines that you see in the reference photo. Okay, This one is interesting because it's got this side here that's in the light, but then you've got a bit here that's sheared off in an interesting manner like that. Let's have a look here another bit that just runs up a bit in the light like this. Another bit in the light here. It's interesting because all you need is just a tiny little bit of detail to just to indicate that light source. Okay. Something like that. That's actually a bit of light here. I'll just rub that out like that. As we move down into the, near the water, you'll notice there are these little bits of rock all along the base like this. Just bits of rock hanging off like that. More interestingly, here in the water we have rocks that are partially submerged in the water, and we've also got rocks that are completely submerged. These are quite interesting. I want to get these in and get the effect of some of these underwater as well. And some of them on just dry on top. So I'm putting in some of the larger bits. Okay. Again, it doesn't have to be exactly per the reference, it just has to be enough to imply what you have in there. Okay? You've got so many of them, really another rock here under the water like that. Okay. Another one here, that here. Another one here like that. And here as well like that. Here's another one that's like partially submerged again. All right. I'm going to pick out which ones I want to, I want to put under the water afterwards. I've got a bit of a plan on how I'm going to do that. Bit of the light on that rock and starts to come out there, go like that. But underneath the water you've got all these other rocks that are just submerged, not causing much of a fuss at all. I'm taking the basic, basic indications of how they appear and the shadow underneath them as well. Getting it to overlap a bit with other rocks like this. Other rocks that are in there underneath the water. Bits of this granite boulder that has just sheared off, falling into the water from the cliffs. There's so many of them, you can spend all day just drawing. But I don't want to do that because otherwise we'd be here forever. But you'll notice underneath them, there's all this shadow near the bottom, the base part. Okay. Which really helps. I'm going to get rid of this plant here in the corner of the scene and just add in the rocks, leave it as that. I think it's going to look better if I get rid of that rock. Another rock here in the corner like that in the water, you can see there's a bit of a reflection like that running down and going into the rocks themselves, submerging some of them. Okay. What else do we have around here? It's all just shrubs that we'll be able to get in with the water colors. Okay. That's a bit of the shrubs there in the background. Okay. We've got again, this lighter area there. Of course we have this hill out in the distance and I'm just lowering that hill down a little bit so I can get some more of that sky in. But it's all really dark in that area. I don't need to do all that much. We can pretty much get started on the painting now. 21. Rocky Scene: Painting: First things first, I am going to use a small little brush here. It's just a little mop brush. And I'm going to go over the rocks first. Okay? All of these rocks. And I'm going to use a bit of yellow ochre. Okay? Bit of yellow ochre just to go over them. Light wash, mostly just water. 90% water, 10% paint. I want to keep it really light. Even if you've got some bath, titanium or something like that, completely fine. You can go over and do this, a very light wash. Okay, light just going over the top of these rocks. A bit more yellow in there, might be nice, tiny bit more yellow. I've got some inacrodone gold as well, just to bring in a bit of vibrancy to some of these rocks. Okay, You want to get all of these rocks in N as you can see, just nice and lights like this. Then we'll go over the top of these ones as well. Here on the right hand side, a bit of conacodone gold. Conacodone gold over the top, pretty much just water. The whole lot of this, you don't want to put in too much color at all. But with yellows, anyway, it's really hard to make them dark. It's pretty much impossible. But the lighter you keep it, the better the light will actually appear. That effect of that light will appear once we're done, there we go. That's pretty much all the rocks that we need to get in. Okay, now let's have a look what else we can do. Going to let this dry a touch because you want to do the water and use that water to cut over the top of some of these rocks. And also I want to get in a bit of sharpness over there. But what I want to do first, let's put in some of the green and stuff here, what you call them, mountains and stuff like that, that's a bit too dark. I'm going to put in some yellow there, just a bit of lighter yellow and spread out this green to the back end. This is just going to get me a little bit of that green. And then I'm using a darker green. Doesn't matter what you use, what green exactly that you use. But as long as it's a little bit darker than the yellow here that you see on the rocks, the background yellow color over here, especially in the background, I'm going to use this green color. It's like a bluish green color that mix that nicely on with translucent, um, lighter green that we have there. Let that do its thing. I'm going to pop in a bit more of that lighter green here as well. And not only there, but also on this section here where we have all of these shrubs and stuff near the water continue to just put in this darker color back there. I've also got some grayish color that I can drop in as well, a little bit of that grayish color, but it doesn't matter. All it needs to be is just basically darker, basically, just the surrounding greeny rock area. Okay, there we are, just make some lighter edges around the side. Now I've got some cerulean blue that I'm going to pick up. Might mix it in with the touch of turquoise as well and turquoise together. I'm just going to drop this straight where the tree line is, that this. It's a bit dark, too dark. Just shift that around a touch and it might mix in with the trees as well, but it doesn't matter. I'm not fast at all. Just just a really light cerulean blue up the top like this. Okay. Now what I'll do quickly is just dry off this section there. I'm going to put in, before I do, I'll just spray down this top section. I don't want that to dry just yet, so I thought a bit of water in there might help spray down that top section. But I'm going to use maybe brush, a smaller flat brush. Okay. And I'm mixing up a darker color, basically like a brown, black color mix. A bit of brown ochre or darker brown whatever, with a bit of neutral tint. The plan here is I'm just going to go over some of these shadows on the rocks. As you can see here, just a bit of darkness at the bottom of these rocks and I'm, I would say about 20% mixture of paint. The rest of it is just water. Okay. I'm doing this one time going over it once to just get in an indication of some of these shadows behind the rocks, underneath the rocks to hopefully imply, hopefully imply these shadows and underneath the water as well. Okay, I need them to be sharp. Nice and sharp as well. That when I go over it with the water, they're not just going to disappear. Really paying attention to the reference and just see, can I put in some of these shadows and make them look somewhat realistic? But without spending too much time doing this as well, I don't want to make this a centerpiece. Let's see, look at that. Just little bits of darkness underneath the rocks like that. You've got some here as well, we maybe this darker bit here on this rock. You don't have to follow them exactly as well. You can change it up and make some of them a bit more bit dark or change. Change how exaggerated the shadows are. See just a little bit of that. Okay, that's looking. All right. I'm going to go all the way up and we'll work on these rocks now. Neutral tint, a bit of brown, maybe a bit of burnt sienna in there as well. Okay, I still want some of this, a bit of warmth here. We have this rock, it hasn't completely dried yet. Actually, I'll give it a quick dry, we'll continue over it like that. All I want to do is just get in the sharpness of that shadow running through here. Okay. Like that. I mean, the whole thing really up until where the bases here is all just shadow I'll put in, this is a little bit of blue, bit of blue for these larger sections as well. It can help to just pick up that brush, smaller mop brush. To do this, it will be faster. Okay. What else do we have here? We've got this section of the rock, okay? Maybe a bit to have a bit of purple in here as well. A little touch of purple. Okay, Some darkness here here. Of course, you want to make sure you've got this light that's preserved on the rock as well, being quite careful here to just get it in quickly. And I've noticed also, there is a bit of what you call it, little shrub or something here. I'm going to put in a bit of a lighter green mixed with some darker green in here just to get some of this showing through with this other brush. Okay. Not too much detail. There's also, there's really some over here as well, some more yellow. Let's just get some of this bit of that shrub. I wasn't going to put this one in, but why not just a splits of that green in there to keep it alive and busy looking. Dropping a bit of darker green as well. Why not? Some over here to this area is a bit too wet, I think I'll just leave that. Continue on with what I was doing with the shadows on the rock. Again, picking up that same neutral tint plus purplish color that I have a bit of brown mixed in. Let's see what else we can do around here. We can go up. It is pretty dark, this color I'm using. I should lighten it just a bit, make sure that it's kept transparent. I'm following some of the shadows that you can see here. Okay? But not only that, we want to leave the light on the rocks as well here. I've left a little bit of light and I'm going to cut around that and just get in some of this darkness behind that rock like that. Maybe some more brown in here would be nicer. There we are. This is the next part of the rock in front. Let's have a look. I mean, it doesn't have to be exactly perfect, but something like that, leaving a touch of that rock there over here. So it kind of looks like the light is just see just catching onto that rock. And then we're moving onto this next one. A bit more darkness here here, maybe some more purple. Would it just darken this down further? Okay. You'll notice that there are just these little edges of the rock that are exposed like this. All you do is just leave a little edge there to indicate that there is some light catching onto the side of it like that. Okay. All we need to do just leave a little bit of that hanging off that side like that. You repeat that here as well. Hardest thing at times of water colors is just leaving that previous wash in the previous beautiful color and that lights in there. Because a lot of the time you just feel so tempted to get rid of it, but if you get rid of it, you lose that sense of light. There's something I don't quite like about this one. I'm just going to change it up a touch, add in some more brown in here as well. This one just looks a little bit too stuck on. Okay, that make it look a little bit more natural like that. Okay, good. Just having a look to see how these ones are going as well. Mostly good. You can also dry brush over the top of some of them like this to give it a bit of texture, give it a sense of texture. Like rocks obviously have some marks and rough spots everywhere. I'm picking up a bit of paint, drying off my brush, and then dragging that brush across the surface of the rock. That way you can get a bit of that indication of what's going on. Good, Right. Time to go ahead and I'll just dry this quickly and I'll go over this. Now, this section here, we're going to do the water. We're going to do the water in two steps basically. First step I am going to put in blue. And we'll get a bluish, bluish brown color, bluish around here. And then we'll fade it off to like more of a brownie color, A bit of this. Ultramarine. Okay, over here. And we'll started off about here, right? Okay, good. And bring that across down like this. When we get to this section of the, when we get to this section here, what I'm going to do is start adding in some browns, a tiny bit of burnt sienna mixed in with a bit of neutral tint. Double that down and I'm going to mix that up. Just double check how much what it looks like. I'm going to go over the top of these rocks, but I want to do it in such a way that I can still see the rocks beneath. I'm putting in a little touch of orange in there as well. I just want to warm this up a bit more. Also make sure that it's not too dark. Okay, we'll go over the top of all this and we've got to do all at once. But here, that's a bit of the rock that's exposed. This one will leave exposed. Just planning which, which ones I want to leave exposed and which ones I should cover completely. These two I think I'll leave exposed to around there. A exposed in that one as well. Okay, maybe this one, the edge of this rock as well, that leave. Okay, let's see how we go over the top of all these rocks. This rock exposed, the top of that one here, visible underneath the surface of the water. What about this one? We can leave the top of that one exposed perhaps like that. Okay, that one there here. I'm just going to give the top part a bit of a spray to hopefully just get it to mix a little bit better. Okay, that one I'll leave exposed as well. We've got some rocks obviously that have a bit of a sharper edge to them, which we want, just completely covered with the water. Okay, I might leave that one exposed as well. These two here down below. Okay, we're going to mix this in with the blue. Okay, like that. It's like a browny, orangey color. I want to get nice browny orangy, maybe some burnt sienna color like that. Bit more gray, like a bit of a neutral tint in there. This is way too dark, so I'm just lifting off this paint. Lifting it off a bit so that we've got a bit less power through there. Okay. I might use the tissue to just lift off some of this stuff actually at the base and drop in some more blue actually looks more continues on this bluish color. It's a great thing about water colors that you can, while it's still wet, you can just still lift up and modify what's going on. Okay, and I'll give this a quick dry in a moment. Just maybe a bit more blue in some of these areas like here. Something like that. Okay. Carry that across like there. That continuing on, I'm going to get in one more layer of this darker brown color, brown and a bit of neutral tint in there. Let's just see how this goes around about here. I want it darker then the water. Significantly darker, but still transparent enough. Okay, just going through, let's just do this all in one go. You get some of these sharp little bits of darker bits like this. Bring that across underneath here. Underneath here as well. Around these shrubs and things, you have a section of these rocks that are covered with this brown mix as well. I'm going to of course, finish off this section. Just blend it a bit with the blue like that. And then we'll move it over to this right hand side there. Okay, underneath like that. And do the same thing, just getting a bit of this brown color. And I'm going to just go over the top of these rocks. Okay? Not all of them, but some of them like this. Okay. So that there's a significant difference between that previous layer that I put over the top before and then this one as well. It's like a reflection, I guess, of the trees in the background. Okay, good there. Straighten this up a bit in the background, we've got some of these little rocks and things here as well, in the distance. I'm not going to bother Yeah. Too much with those at all. Maybe just bring some of this darkness further down. But apart from that, I'm quite liking how it is coming together. A lot of it, like I said, is just preserving this light that's. Coming in bouncing off the rocks. Okay. Now another thing I'm going to do is work on some of these shrubs and things here as well. They're going to need to be dark and detached. I'm picking up a bit of darker green. I'm going to just drop in some of these, but without getting rid of all that previous green that we have in there as well. There's some nicer colors there that I don't want to completely get rid of. I do want to make them a little bit darker, like this thing. A little bit of this going on. If I can just minimize the number of brush strokes, it saves you so much time you can get in a really nice looking scene. You'll notice here at the edges as well, there's a darkness. I'm going to just put in a bit of neutral tint underneath here, just underneath the corner of this river. You've got some dark bits here as well, in here, it's all over the place. You've got dark bits even in here where it touches the water, and even the shadows of some of the rocks, they look a bit more dark than the others. Move this around a bit. I probably need to bring back a little bit of gash in that section in a moment. Let's see how that's turned out. Maybe some more sharp little waves or little reflections. I suppose joining up that would be nice. Just some sharper little bits like this running across the water as well. That. Okay, let's give this a quick dry. Okay, a little bit of white quash. I'm going to use an old round brush and I'm going to pick up that white gush and mix it in with a bit of leftover green that I have here on the palette. Bit of yellow and a bit of darker green here. Want it to be like quite a vibrant looking green. What we can do is bring back some of this detail of the shrubs and things over here. Okay, That we have lost previously. I'm just going to flick a few little brush strokes like this. As you can see, there can be indications of this bits and pieces coming over the top of the river. Not only that, we've got some here as we like some shrub or plant here as well. Okay. The trick is to, yeah, I just go to quite spontaneous, take too long, fewer brush strokes the better. In my opinion. Like this. This will, in my opinion, it will bring back nice bit of this, these shrubs and things here without too much effort at all. Some of them have funny edges, you just have to smooth out those edges a little bit like that. Of course, over here as well, we've got a bit of it that's just going into the mountains in the background like that. Just taking some of that color and distributing it over there as well helps it just a bit here in the foreground where we had some little shrubs or whatever as well. I thought I'd cut them out before, but I will get them back in now. Okay. Make it even darker and you can get in a bit derash in some of these sections as we see here. Just a bit dash to make these trees, shrubs, and things look more three dimensional. Okay, I will also pick up a bit of this yellow gash in the corner. There's these things here. You can see there's like this tree or something. You can see just branches of some tree. You can go ahead and indicate stuff like this contaminated a bit with the yellow now, but things like that, just tiny little bits that cut through and go into the distance really. To just create a bit of contrast with the background. Of course, you got bits of high lights that you might want to bring back. For example, here, there's little rocks that you might want to just back into the light. For instance, part of this bit here, the trick is just to touch and go and not spend too much time on it. For example here, that's a bit of the light, maybe hitting that as well. There's tiny little corrections that you can do once everything has dried to bring it back again. Okay, what else is here? Like this section has a bit of something here as well. Let me just get in a bit of that yellow och, that section here has like a bit on this rock. This rock also has a whole bunch of these little marks and things running across it, and this can help bring a bit of texture and detail onto the rock, imply some of that texture anyway, okay, It might also be a case of emphasizing some of the light, bringing back some of the lights from some of these rocks. Like maybe here. Okay, I want to get that one to stick out more. That's something you can do. I'm getting to the end now. These little dots sometimes on the water can help. But I will actually use can wash. Wash just with a bit more white in there. I've gotten rid of a lot of that by mixing it around. But if I just use some of this stuff, pickup a little Led, some white can do things like just drop in a bit of little sparkles and things on the waters. That one wasn't really quite good, but yeah, something like that. I had tried before with this area there. You can just run the brush across the surface quite quick to achieve the same effect. But you can do the same thing with a bit of gas like that. It helps really, to break up this darkness all over the place. So that we've got variations in the water, bits and pieces spark a bit of sparkle. Even here in the water, you can see it's like the reflection of the sun here in the water. It's almost like a bright white, A bit of yellow in it. It's difficult to achieve this, but a little, something like this does help. Just a bit of that sparkle. You got to do it quick. You have to do it quick. Otherwise it doesn't work. Looks too stuck on artificial. Okay. Any more alterations? Really, you just have to go through and add them on, but really at this point, it's looking quite good. You want to be very sparing with the squash at this stage because if you've got this natural natural highlights that are already preserved, it's always best to keep them a bit of that rock behind that rock that we've lost out. The river bank here. Just some more highlights and quash whatever might be going on in that section like that. A few little dots and things as well. Maybe a few more here. Okay, and I'll call that one finished. 22. Trees on hill: First wash: We've got this interesting scene here and the first thing we're going to start with is we're going to put in this area right up the front where we can see the tree sort of touch the ground. And it's really, I mean, this is really just the top of a hill or a small sort of mountain that's standing on, but up in the background you can see the other hills. So we want to draw this part in the front first. And I'd say it's about a third of the way through the page. It comes up a little bit, up to the peak here. And then it starts to come down, okay, to come down around about here. All right. The next step is looking into the hills and seeing whereabouts do those hills start and finish. Now, again, about two thirds of the way up the page here, I'd say that's a good place to start. Okay. Another thing is that we can also exaggerate these hills up the back if we want to. It doesn't have to be the exact, exactly the same as a reference. We can see that one maybe go up there, another one come up like that. Okay, I'm not exaggerating them too much, but just enough, show the hills up in the back, a little bit of sky up the top as well. We've got the main elements in here, we've got these mountains out in the background, and we have this nice larger area down the front that we can work with. No, here I've noticed is a bunch of these little rocks. Okay, I'm going to put in some details of these rocks. Okay? You notice the shadows are on the back of those rocks. Basics, sunlight is coming from just ahead of us. And you can see even with the reference photo, that there is a bit of light coming in all the way and hitting the top of these rocks, leaving some darkness behind them like this. But of course you've also got the shrubs and things like that there as well. To the left, I'm going to put in this tree. This tree is actually going to be quite an interesting part of the scene because we don't have much other detail apart from these other shrubs and things in the foreground. A lot of this stuff here is very soft details. I'm going to take a bit of time to draw this one in, but again, just like a representation of this tree, I don't want to be too rigid with how I draw it. Okay, we know that it goes up, splints, branches off into these two Y shaped areas here. This one comes around and wraps around the side of tree, and then you've got something coming out here and here and up like that. And then the rest of it is just foliage. Okay. It's quite an interesting looking tree. Quite interesting looking tree. It's really, I think it could even be two trees really coming off on different angles. Like this one here, I think it's two trees. This one is just growing off on a funny little tangent there off the side. Then you've got two larger, what you call a Y shaped, a little fork like that and going up again, the ping really so much happening. There's even another tree here. Look at that. I almost didn't see it before, but there's a white looking tree here. It's like an old tree. It's dead. I remember remember seeing this tree there. It actually goes, slants off and goes all the way into the distance. There's not much that you actually can see of it, but you can definitely see the trunk. Okay. Lots going on here. Even this branch that's just going off to the left, going out the ground like that. This one here as well that just goes up, cuts through this tree. Even this one's got another branch that just goes up like that. There's so much going on can be very overwhelming after a while. But just remember to keep working on it and work on those larger branches rather than looking at all the little, tiny little branches and forks that start to come off these larger branches. Work on the big branches first and the other branches, we can work on them later. But if we don't get in these larger branches, everything else is just not going to make a whole lot of sense. Okay? Looking around at this tree, this one is quite important. Okay? We just want to make sure that I've got it in enough detail here because there's a mess this area but will make do, okay, that. Okay, let's have a look. There's some rocks, little rocks here as well. I'm going to just get in a section of that. All kinds of rocks and bits and pieces. You notice tons of them just lying around on the ground. And really create a lot of interest just to get in a bit of that shade, a bit of that shadow in front of them. Okay. A lot of this stuff, again, it's overlapping. These rocks are overlapping. These rocks here to writer, I'm actually thinking they a bit much now that's, but I'll probably just leave them in. Okay, that there's the tree. Okay. How's this one going? That's all right. I'm going to put in some of these shrubs, look at these rocks, just lots of these rocky bits and pieces that I'm just creating, some overlapping bits like even some larger ones that aren't actually there. Why not just create a bit of detail? You've got more shrubs all the way around here. This little tree here, look at that. There's some tree in the foreground. Look little indication of that. And the surrounding area surrounding foliage here, you've got rocks. Look at that. Another rock, another one here. Try to get the angle of that rock in as well. It's like a squarish looking rock like that. They're all different shapes and they overlap with each other. There's no issue if you do stuff like this. We can put in the shadows and extra details and things later. But go ahead and draw real basic bits and pieces in for these rocks shadow near the front of the rock as well. Spread them out in some randomized ways as well so that they're not all clumped into one section. There's also these longer bits of wood, and wood chips, and all that stuff here. There's like a shrub and some of the branches coming off. Just remind myself to stick that one there later on. Look at that some more other shrub there. Okay? These are actually, as you move, they almost look like little trees, they're actually shrubs. It's just the **** that I was using at the time. It's made them look a bit funny. I like that. There's also some kind of tree coming in from the side here. Okay. So we can get in, use this to kind of frame the painting a little bit. Okay. As we move up, we'll notice all this area is actually foliage. Just going to get a bit of this in. Like that, yeah. Okay. So that's where roughly the trees finish. We almost got in thing that we need. Everything else here is just some tiny details. There's a point where I stop even looking at the reference photo becomes not really relevant after a while When I want to get in a few of these branches and you've got the basic bits and pieces of the tree in there, it's not a huge deal. This branch, we got this interesting area here as well that I was drawing in this tree. That another tree that's behind there to Yeah, this is like the other weird little branch that comes off the side of this tree, growing on a really odd angle off the side of this cliff. Okay, We are ready now to get started with key painting. First thing I will do is I'm just going to wet the paper a bit. The entire page just drop in water from the top to the bottom. Just a light, a bit of water like that. Clean water as well. Mine has actually got a little bit of gray on it, doesn't matter. Okay. Just moving this water through the entire scene. Shifting that down as well. This is just going to make it a lot easier to paint in a lot of these details into Okay, I've got my brush and I'm going to pick up, it's a little mop brush. Going to pick up a little bit of cerulean blue. Let's mix that onto the palette. Let's see we can get ourselves a nice little cerulean mix like this. Okay, good. Here we are. Strap date into the sky. How does that look decent? Notice how it just mixes so easily because of the concentration of paint I'm using, probably about 50% paint, 50% water, but the page is already wet. If you think about it, really a lot of that paint is actually just dissolving onto the page itself. Okay, I'm going to get nice. Was like this really nice smooth wash, hopefully, if you've done everything correctly in terms of wetting that paper in the background. Okay? Pretty simple. Okay, next step is for me, I like to put in some exaggerated yellows and stuff. First, I will mix up a bit of this acdoneagd gold drop that into there for some of these trees. Okay? Coacdone gold drop then in there. Why am I doing this? Because if you start off with a little bit of this light in this section, actually the light warmer colors. You don't have to worry about it later on turning these into greens accidentally, I've noticed on these branches as well. You've got some bits there too. I also use another color here which is yellow, och, more subdued, yellow. Have a look over on this side, maybe a bit of tiny bit of grayish yellow or something here. Look at that. Okay. Change this around. A bit of brownish color there, yeah. Okay. So we've got some golden colors by tiny bit of green left in there as well. Could be a little bit of old green left over on the palette, but mainly mainly light colors. This should dissolve nicely into the page. Look at that. It really should be effortless because you've the page, okay? And from here I'd just like to work the details in bit by bit. Okay. I've got some of this grayish white color, buff, titanium, buff, titanium in the corner. There's a touch of green in there as well. Okay. But look, just flicking some of this through so we've got a bit of interest. Okay. That at this stage I'd like to pick up my brush, my mop brush, my fan brush, a little flat brush as well. These brushes, absolutely fantastic for getting in a little details. I've got a few different greens here, a few different darker greens. I've got emerald green. I've got one called an undersea green. Okay. If you don't have a mix up, blue and yellow, ultramarine blue, and a bit of a Hansa yellow also make really good combination. If they mix around, it's also no big deal. Okay, I just like having a few different greens on here to play with. We've got quite a few in there. Just let them and mingle in the palette. Just bring the palette a little bit over. You can see these greens and stuff just mixing and mingling here in the corner. Let's go right about here. Okay, I also like to go on this other side and I've got a bit of that Hansa yellow, bit of Hansa yellow on the side. Then I'll mix some of that green with it to come up with a really vibrant light green color. I want to feather some of this stuff in over here perhaps. Okay, no need to rush at all because the paper is completely wet. Bit of green here. We've got, of course, so much of this. We've got so much of this yellow all around the area, but this can easily be converted into green. Okay, let's have a look. Let's check in a bit of this darker green here. I'd like to dry the brush off a bit too. The mixture of this paint is probably at 20% paint and 80% water. It is quite dark, dropping a bit of that darker pigment. Now, these hills, these mountains and what have you, they need to be also darker. But at the same time, I do want that bit of light green running through the back of the hills. If it's softer, it's no big deal as well. I actually want it to be a lighter out there in the background. Okay, let everything just mixed together. Here's a bit of these trees here as well. Flicking a bit of that darker paint. Still a mid value. Okay. A bit of that green here, we'll blend into the sky. That's no problem. That that here. A bit more darkness around the center. Okay, good. A bit of this extra green here. Here. Yeah. Yeah, as well. Put a bit here and then, okay, a tiny bit of shrub coming in from the front, but I'd like to preserve some of this yellow. So a little bit of this green is fine. You're really just taking that brush, flicking it through here. Make sure you have less paint on your brush as well than in the actual area that you're painting into that, make sure that it doesn't spread all too much. I'm going to give this a little dry hair dryer. Let's put in some quick details for these trees. I'm just getting some darker, darker green paint, drying it off on a bit of towel, just dropping it in for some of the these little trees and things back here. You can see them off on the background of these hills. And like I said, you don't want to detail them too much, you just want to drop in that paint. Okay. Dry off the brush. If the brush isn't dry enough, make sure you do that. Okay? There's a part here which has these little also smaller darker trees at the top of the hill there like that. Okay? You want to make it pretty basic? Okay? And the way that they come through as well, just quite simple. There's some shadows here, some darker areas that mix in with the lighter areas back there underneath to some little darker spots, but it's not a huge deal here. What else do we have? We've got some more of these other trees and things here as well. Okay. Just as long as we have some indications of these background trees, we should be good. Okay, I'm using now this paint as you can see to just cut around, cut around all this stuff in the foreground. And I'm going a little here as well for this tree. I can cut around just a little bit of water with that paint so that it doesn't mix too much. But you can see as well these little rocks I can cut around those rocks, okay? A lot of those trees at the end of the day trees, but a lot of these bits of light, they're going to disappear anyhow. But that, it's just important to cut around some of these rocks. Let, let them do, do their own thing. I've got a bit more of this darker green again, just cutting around this tree bit by bit like that. Kate more here, A Kate. Some darker bits here for these branches and stuff. Tiny bit foliage here. I know I've made this go up a little bit further than it needs to, but it doesn't matter. Just leave a bit of that previous wash on the page. Coming down, I want a bit more yellow, a little bit more of this yellow ochre. Actually, some of these areas, maybe a tiny bit of brown, I've got brown ochre as well, because there are some brown light browns and things running through this area. I think a touch of that warmth is going to help. Just make it look a bit more interesting here on the ground. There's like a orangey, yellow, orange type of color here on the ground. That just adding in a little bit of that color. A lot of this, as you can see, is just wet into wet work. Letting everything mix together like that, get some of that color here as well. There even see some of it permeate through the rocks as well. If it starts getting a bit dry, you just spray the paper down with this little spray bottle. This will help it to start running a bit again. Look what else do we have left to do here. I think I will darken again, darken the background a bit on some of these areas to further bring out the foreground, some shrubs and things in the foreground. Okay, here again, I'm using a few different greens. Yeah, there perhaps. Good. There's also some tree here as well. Just getting some bits of the foliage of that tree that coming in from the right hand side. Bit more green in there. It's good. Okay. 23. Trees on hill: Second Wash: What you can see here is while the paint has been drying, I've actually gone through and scratched off a little bit of these bits and pieces to indicate grass. Just some little lighter highlights of grass. And you can even spray into an area once more like here once it's already dry and do the same thing, you've got to give it a little bit of a decent spray first. It's difficult once doing it the second time round, but it is possible, give it a quick little spray for that water to absorb into the page. Okay, but you can do this again. I find this helps to draw the view, the viewer's eye, from the front all the way to the front, to the inner parts of the scene. Just by creating a little small highlights like this. Little textures and interests that you don't really have to paint in, just scratch out. Okay, the next step here is we're going to put in pretty much all the darker colors, tiny bit more detail. But apart from that, there's really not a whole lot left to do. Let me just start off with some of these branches first. I've got two brushes. I've got myself a smaller flat edge brush and I've got a small rigger. What I'm going to be doing is mixing up a darker color, basically a bit of neutral tint mixed with brown Oka. You can also use raw Umber. Got some of that as well. Raw Umber and a bit of black. Just a really dark color. And I'm going to do here is going to go and get in this tree trunk. The tree trunk, okay, here it is. Planning it a little bit. There we go. Remembering the light sources coming from the right, doing this, Trying to try to use a few brush strokes as possible. But you can see here that's the side of that branch. They're coming out the tree itself into the ground here. Okay, like that. Leaving out some little highlights. As you can see, there's this other tree branch coming out around the side here as well. You've got coming out this y shape, you can see the little shaped there. I'm just trying to also leave some of the tiny highlights on there, if possible. These nice little yellow highlights which are going to disappear for a lot of this stuff, but little parts that I can preserve. I'm going to do that here. Just a little bit of that yellow still present Or why not just save, leave some of that stuff there. You can see these branches. They get real tiny. When they start getting too tiny, stop using that larger brush. What we'll do is switch over to another one. Okay? Let's, let's continue working on these trees first. There we go, branch coming up. This is pretty loosely based on the reference at this stage. Okay? You can see these branches go all the way up. Okay, I said just hang on a moment. We'll use the rigger brush in just a second. But if you can paint all this stuff with the larger brush, if you can, it will look a lot better than using a teeny tiny brush to do everything. Because then you will, you definitely start to realize that it's putting too much for those tiny details that you should just really leave out. Okay, this trunk isn't really brown, but doesn't matter. Some more branches and things here going upwards. Why not? So a little bit of a shadow on the ground. Maybe some purple will be good. A little bit of purple mixed in with this muck. Let's have a look. You can see the shadows just running towards the front of the scene here. There's all kinds of shadows, connect them onto the trees themselves, like that, to the bottom of those trees. And So that it looks like one larger shape. Okay. The shadows are interesting because they are coming across the scene like that as well, cutting on top of some of these shrubs and things. I, I don't like the angle of some of these shadows and I'm going to make it a little bit more obvious like you see here for these rocks, a shadow on the left side of the rock. We can make it more obvious by just exaggerating. The shadow pattern here, see running to the left a bit more on some of these rocks. Just going around some of them and like that really, even if you're doing it and it's a little bit inaccurate, don't worry, just continue on because it actually looks better. I find, anyway, the less you fiddle around that thing here, there's this the rock. Look at that darker shadow on this rock and here, this shadow underneath here as well. Just getting that in, I'm finding that perhaps I could go in with a bit more strength too. I'm getting more confident with these parts. I can just add in a little bit more of this shadow over the top for some of these rocks. Do the same for those ones as well. Here and there. Back onto the tree. You can drop in a bit of extra darker paint as well. If I don't have to use too much quash in this painting, I prefer not to. Here's another branch that I haven't put in here just yet, dropping in that darker color. If I've got some darker branches, I've got some liner branches and a few bits and pieces, it's going to look better. Broken off lines as well, so that you don't have all of those lines. Just connecting up for the branches. Make that one a little bit thicker, constantly, just altering and changing this around so that it comes together a little nicer, makes more sense. I've lost out in that white tree there, but I might actually, I'll get that in some guash later on. Okay, these shadows, there's quite a lot of these shadows, some of them are even cast by the shrubs and things here as well. You can getting a little bit of that running through the foreground. Okay, I scratch off a bit of paint. You know, again, I like this technique that helps you to get in little bits of grass and details here. Smooth these rocks off a touch. Okay, Some more rocks around here. Let's just get in a bit of that indication of those rocks. That is my little, this brush here, there we go. This is the mop brush. I'm picking up some greens. I'm just diluting these darker greens down a little bit. Let's see what we can do. I think what would be nice is if I help separate out some of this stuff in the background. But it's tricky. We'll be using an older bush, got one here somewhere, just to create a bit of contrast between the foreground. Bits and pieces in the background. A touch of darkness around, surrounding some of these trees and shrubs and things going all the way into the back, I think would be good. Then just smoothing it off a bit here. Okay. Dropping a bit of water on the edges to soften it. Okay. Just that I've got a couple of areas here where we've got some sharper contrast between the trees in the front, foreground, in the background, okay? Doing this very carefully here. The right hand side kind of just starts blending off, so it's not a huge deal. Okay, Soften that area. Soften those edges. The bit of water that okay, where is my? There it is. Little bits of feathering in for this color as well. Bit of green here. Feather in some of this stuff. Okay, probably a little bit more here as well. For these shrubs at the front, of course, there a little bit of brown in there, a little bit of brown in there too. Just get this in a few little brush strokes here and there. Okay, I'm going to do is put in a bit more detail I think for the tree leaves and things, especially here in the front because, yeah, we've just got so much darkness up here in the trees. I think a tiny bit more indication of this foliage would be great, but of course I don't want to overdo it. Just a little bit like this connecting to the branches and just ensuring that they look a bit more like leaves at the top here. Anyway that yeah. Okay. Give it a quick dry Okay. Little rigger brush going through to finish off some of these branches and details. And I'm just picking up some really dark paint, really dark black paint, and going through to put on some of these branches and bits like this on the trees. Hey, yeah, more like that. Just small little offshoots of the trees that we weren't able to capture initially. We can get them in, feather them in quite easily like this, create some extra detail here as well. Some bits in pieces here in the foreground. This tree here, because of some branches going up and stuff like that as well. Smaller ones here as well. Just little bits, one coming in from the side. Just another branch, a couple of branches, anyway, that helped to frame the scene. Be a darker paint for the shrub here, the foreground like that, and a touch of shadow underneath that, these exaggerated shadows. The rocks also making up along the way, even here as well, smaller rocks and bits and pieces and stuff just in the Ford and creating a bit of interest. Okay, quick dry, I'm gonna mix up a little yellow quash. I've got some yellow Oka and Quinacridone gold. Just mixing this up with some of this yellow white guash, I can create a bit of this yellowish color, which I'm going to use in little parts to bring a sense of light into the scene. Bring it back in some areas, look at like the trunk of that tree here, that even on the rocks, you can bring a little bit of that light back onto some of these rocks like this. Okay. Especially just on the edges like that. Kate some more here. Just in little areas here and there. Not too obvious but enough just enough to indicate a light source to the right. Look at these rocks here as well. Some of them have got can make some of them look a bit more lighter parts like that here. The pick up a few bits and pieces, soften off some of the squash in areas too, that just soften it off in parts. Smooth off the edges like that. It just helps to join it onto the rock better as well. In some parts where it's just smoother. Okay, You can have a feather in these little indications of grass as well running through just in this squash. Little bits like this running through the rocks. They help to join up the rocks too. When you put these little bits of high lights running through, put some more coming in here in the front. Just a bit of more greenish color running through as well. Why not just near the front of the scene? A few of these larger bits as well, and so maybe a few darker bits can help create more interest. Some more branches, some quick quick ones. I just felt that this tree doesn't look as detailed as I would like it to look. Maybe also just softening this edge. A touch of these leaves. Just softening that top part there, touch, blending it in with the sky of it looks a bit softer. This guash in there as well, just to help with that. 24. Walking Trail: Drawing: Okay, let's go ahead and start firstly with the drawing. And it's a really interesting landscape. There's so much going on here, but we're going to find the basic shapes, ways to draw this without putting in too much effort to the small little details. Now, the center of the scene, we can see here. We just want to separate the sky from the ground. Obviously you've got these mountains, the hills coming out from the left hand side, about middle of the way through the scene. This is where you've got the horizon line around about here. It's interesting because it goes up a little bit, then down the back there it goes down. But you don't really see the bit that goes down. You've just got this section that goes up like that. But really the land behind there is more flat. You've got this rock here as well. You can put in a little shape of that rock. And not only that is this tree here as well. Okay? But I'll get that tree in in a moment. I was just in that section, I thought why not just put it in now? Probably the second easiest thing to do is to get in this a bunch of trees and things. This large mountainous area to the left, okay? We know that it goes over the top, around here, okay? Like that all across it. A little bit of a curve there, make sure you leave enough sky as well behind this tree. There's a bit of elevation in that mountain over there. You can't see it all too much, but you can generally just indicate where it is. Okay, There we have it, we've got those mountains there. Okay. Now I'm going to start working on this little bit. In the center, there's a little path, can you see that little yellowish path and it comes around. This one's really interesting because we're going to need to put this in later on. Okay? And you can see it trail off to the side there like that, but it gets larger as you move closer to the front of the scene. Okay? Something like that. Okay. I just want to leave enough width to it. Okay? So it doesn't just disappear in there. Okay. So it's off in the distance. You've got these little wild flowers and things here. This can be very interesting, seem to do. There's shrubs. Okay, another shrub here. The reason why I'm putting in these little shrubs is to remind myself later that just to add in some extra detail and of course make them smaller as well down the back, these little tufts of grass and things like that. And you can see how they grow upwards imply this hill. You can make it just, yeah, go upwards a little bit like that. Now, over here we have a tree that's coming, going downwards and here's it extends over to the right hand side of the scene using the end of my pencil here as well. This is where I'm just going to be a little bit looser and put in these branches roughly around the right hand side like that. You've got so many of these branches and it's a mistake to actually try to draw all of them in. I just try to draw in the main ones. Of course, that main trunk, that's a big deal. But once you've got that one in, once you've got the main trunk in the rest of it, you can just paint in quite easily. There's no need to put in a huge amount of effort. Okay. Because at the end of the day this is all going to be darker. You're going to go over the top in pen. So it's going to be a lot easier if you just not pen in paint. So it's going to be a lot easier just leave it later. But we do need to get a good indication of what's going on here. And the interesting thing as well, this tree, I've got the sun in the background. This is going to be a, almost like one big shape. Okay? Just put in some of the leaves or a bit of an indication of the leaves or something like that. Okay? Just to remind myself, it doesn't have to be all too much in there. The rest of this we can work out as we go, but the actual tree trunk I want to, as you can see, just detail that a little more. That definitely helps. Now in front of this tree, we've got a stone, looked like a granite boulders. So many of these when I was over there, all over the place, this was actually a bit more of a better clearing. Usually there's just rocky, smaller granite boulders. And all over the place on the ground, you've got the shadow of this tree that just runs downwards like this. Interesting shadow pattern. Okay. I, of thinking to myself, I want to use the same shadow pattern. I might actually change this up and make that shadow pattern go to the. 25. Walking Trail: First Wash: The first thing I want to do is mix myself up a nice warm color. I'm using a few different colors. I'm using a bit of yellow ochre. I'm using a bit of this color called buff titanium, which is like an off white color. You can mix up a normal white with some gray to get the same effect. But I'm trying to mix up this color to just get in a background of the scene. The warm colors, especially this path. I'm trying to match that color. A touch like this that looks roughly around the same color. I'm just going to try to make this bit more, a little bit more, a little bit more vibrant than the reference in some areas as well. So you've got this path, you can see it just go in through the back like that. Okay. Putting a little bit of yellow in there. Perhaps just a little touch of vibrancy there as well. Around the edges, you've only got a lot of this green. But behind the green, you've actually got a colors with the rocks as well. I find that's the case with these rocks. Just mixing a little bit of gray with the, with the yellow. And I can pop in a bit of that grayish color for some of these rocks, just to give them a touch, make them look a little bit different. At least you don't have to do it for all of them. But for example here you've got this rock here that's facing the sun. I'm going to put in a little bit more brighter, yellow. It's a lemon yellow in that mix just to make it stick out of touch. Okay, that just catch a bit of that sunlight. We'll do the same thing here for these other ones as well. Here, other rocks, I do have some chronacrodone, yellow ronacrodones work so well with some of these rocks just to imply a bit of this golden color, some gray here for this tree trunk or whatever is here on the ground like that. There's a few more, a lot of this I would say. No one says guess work. But it's almost to the point where you are indicating what's here but not over exaggerating it at all. You get in a touch of the lighter colors, especially running through here and try to preserve some of them before we put in the green. Because once you put in the green, yeah, once you put in the green, I find that everything just disappears. All the yellows. I try to get in as quick as possible and make sure that I don't miss out on the other colors, these other warmer colors, because everything I find later on turns quite greenish, Okay. At the moment, it looks a bit funny and it almost seems like what is, what am I doing? But you see soon enough why I'm doing this. For the grass, I've noticed what I want to do as well. What helps is that you just put in a bit of yellow as well around some areas. Okay? Because you've got to remember a lot of this is going to turn into, a lot of this is going to turn into, into green once you put in a little bit of green in there. Anyhow, a bit of this background color of the yellow running through is maybe I can also start picking up some of the green now. Now that I've got a bit of the lighter colors in, okay, the tree trunk is much black, I don't need to do much with it. But as you can see here, I'm just putting in a little bit of this green going all the way up into those mountains in the distance. Okay, I'll do it over here as well. It's like a darker bit of green here. You can use any sort of green. You can mix up a blue and a yellow yourself if you like. Just as long as you keep it pretty light, okay. I try to touch and go in most areas, I can put in a bit of yellow in here, a bit of yellow, and that green mixed together and get a nice, more vibrant green in some spots, which is super important because we do have some brighter bits of green running through in areas. Okay. Touching a bit of that on there. I'm actually used a bit of ronacrodone yellow nacodone gold running through here. That there we are doing my best to, of course, get in a bit of green for this surrounding area, the mountains. Okay, that the grassy area, I'm just going to pop in again, a nice little combo of green and a bit of this yellow ochakay around the 0, because you're going to find this stuff is dried already. You can go over the top of it and it's not going to disturb it all that much. Okay. Another thing I like to do as well, I carry a little spray bottle with me and give it a quick little spray to give yourself some time to continue working on this scene. Okay, there we have it. The sky is something we need to do as well. I'm going to pick up a bit of cerulean blue. Just drop that into the sky. Probably the easiest part. Start from the top first. Actually work my way down. I just want to thin layer of cerulean up there. As we move down, I will blend it on with some of the green so that it mixes a touch like this as well, so you get a bit of a soft edge on there. It doesn't matter. We'll bring out some of the sharper edges in the mountains soon. But just something like that will do you good. Okay, and what I'd like to do now, I'd like to pick up some smaller brushes. And I've got a fan brush here, and I've also got a little rigger brush here. And what we can do, what we can do is start to put in some darker bits of green over on the right hand side. I've already mixed up a bit of a tiny bit of green. Darker green. Okay. On my fan brush. And I'm just going to drop some of this in here. Just feather in a little bit of it. Okay. Like that where we've some shadows look very carefully. I do look very carefully and see where are, there are some darker spots in this bush and you can see there are some dark spots there. All we need to do is just mix up it, that green, drop it in there and let it do its think even some up the top like that, you don't want to get rid of all that beautiful, lighter green in there. You just want to work on it enough that you've got a nice little blend of both because you've also got a lot of light that's preserved that you want to preserve. Anyway, I'm just going to bring this down again. A lot of this is going to be painted wet into wet. The spray bottle so important for this type of work, feather this through that. A bit of white bath titanium as well. Just chuck a bit of that through there to indicate those little twigs and things further down. Of course what I want to do is just mix up a lighter green. I can feather in a few bits here as well, just on the ground. So you can see little bits of green bits as well work around that rock too. And you've got these little tufts of grass and things that you can imply in there that a lot of this stuff is going to be done wet into wet. We want to paint most of this wet into wet where possible. Okay. Also if you've got some white in there, just don't, don't worry too much about it, just leave it because that can be used to make a highlight later on that's going up into the mountainous area. I'm going to actually darken that a touch up the top to give it more contrast. But cut around the rocks and things that I've got here, just put a bit of that mountain in the background like that. Let's have a look here on the other side. Put a bit in here, another bit of green here as well. What else do we have? Might mix in a touch of blue into that green just to change it, make it a little bit of ultramarine blue into that green. Across here, we can just feather in and pick up some darker spots of detail like that. Remember, all this is done, wet into wet. That's the beauty of it, You're painting all of this in at the same time. Okay. There's even on this rock, you can see there's actually some darkness on the left side of that rock. I've picked up a bit of neutral tint and just mix it in with a bit of green so that I can darken that part of the rock a touch. Not only at the top of the rock, there's little bits and pieces, but why not just start putting in a little bit of that while I can here in the grass as well. All right, let's have a look here. On this side, you've got this darkness on the left side of this rock that I'm going to emphasize there. So much of it really, it's like green and a bit of neutral tint. I've just decided to just put in straight away like that cut around that shrub here in the front touch, you've even got some little shadows running across that rock here that I can imply like this quickly, that okay, sometimes a smaller brush can help as well. Like this bit here, I can just get in that side of the rock with a bit more detail and precision. Okay, back to the fan brush again, some more green that I have left over on the palette. And I will just drop in a bit of this as we go up into the sky like that. That sky again is still wet, so I can go into it still and drop in some paint like that. Constantly just modifying the amount of paint on my brush. Dropping it in where I see appropriate. This is some more diluted lighter green paint. And I'm just dropping a bit of that in into this muck here to create a little bit of different texture. Let's go all the way down. Further down here, we've got some more greens. We need some more greens. And bits of grass just coming off the side of this little path. You can barely see the path here anymore. But these little tufts of grass and things really help, especially these vertical ones here, they help to draw attention to the path. Okay. Though I'll probably need to bring it out more later on here. Underneath there, you've got a bit of a bit more of the shadow of this log. Okay? Under these ones as well. Some more of that shadow. Vertical strokes again and running through to the back like that. Okay. Like I said, a lot of this stuff you can paint wet into wet. Want to? Because that's where I think the magic is with water colors. A lot of this wet and wet work you just can't do it. Just can get these beautiful transitions and colors without painting wet and wet. In order to make it look subtle as well. It's very difficult. It's why I love it takes a bit of time, certainly to feather in a lot of this color. But we get there. It's a lot of diluted paint that I'm using. A more diluted paint, If it starts drying off, all you got to do is just spray it down a little bit to keep it going. Okay? But at some point you're going to want to let it dry almost fully. Okay. Around the point where you can see a area of shininess on the paper. Okay. Then we can start putting in, scratching out some quick little highlights. I use a little blade like this for that, but I'll get into that in just a moment. Let's see what else we can do. Just put in a bit more of that path in there. Just want to draw it out better with some of this white, It's lost in this whole scene. Something like that. It's better. Okay, smaller rigger brushes like this also work nicely to get in some tiny little tufts of grass and things running through there. I do want to get in these shadows as well at the same time, but I have to wait for it to dry just a bit more first. I don't think it's quite ready for me to go into that section just yet. We want to make sure that it's that it will spread. If I put that shadow in, it's going to spread. But it's not going to be spreading all over the place and create a gigantic mess. Okay, let's have a look what we can do here. Again, it just hasn't dried in a lot of places. But this is what I mean, you can just go in and scratch out some color in areas like this. Just scratch out a bit of grass or something in the background, okay? In some spots. This also creates a bit of tiny bit of contrast for grass and things like that, okay? These lighter bits of grass you can just emphasize and pull away, but you need to wait a little bit. Otherwise, you see it just does this thing where the paint just goes straight back into the area, which is another effect, by the way. I don't mind that, but I do want some more sharp contrasts. Like white contrasts, it's getting there, you just have to wait for a little bit. What can help is using a hair dryer as well to pull off a bit of paint, dry off a bit of paint. But the combination of having some of these darker strokes and things and having some lighter ones come in actually helps a lot. As you move to the back, I like to make these smaller, these little bits of grass. They do appear smaller, so we don't have to really bother with larger ones out the back. It just helps with the perspective. But at the front, we want some more. That's what we want. There were starting to scratch out some of the paint and leave that white paper almost white of the paper around. Okay. It's taking off a little bit of the paper as well. While I'm doing this, mind you. Okay, let's just do some of the shadows while we are here. Now, looking at the scene, I'm going to pick up a bit of neutral tint, which is just a gray color. You can mix blue, red, and yellow together to make this exact color. I'm just mixing in maybe a bit of brown and a bit of green as well. To keep it looking a bit more interesting, this is the side of that rock. It's, it's wet on that side, but on the ground here, we can actually go ahead and put in the shadow because it's not percent mostly dried. I can drop in the shadow of that rock here. Can you see that, just running across to the side of the scene? I'm exaggerating the shadows as well. Mind you've, what else have we got this tree here in the background. We've got a bit of that shadow running across the scene here. A little bit of that shadow running from the tree, the shadow of some of these rocks here in the distance in the background a little bit there. And maybe an indication of something over there as well, tufts of bits of grass and things like that. In the way you can see that shadow, I'm going to also indicate a bit of a shadow coming here, just to make sense of this bush to the right, that it should have some indication of something there. Okay, let's have a look. What else do we have to put in a fair bit of detail that we can continue to imply? I'm just going to put in a little bit of brown on this tree. At the same time, just work on getting in a little detail for the branches. Okay, just use the hair dryer for touch. 26. Walking Trail: Second Wash: Dried off a little bit so that it would be easier to work. Okay, we've got that. We've got this nice little rock here connected on quickly to the shadow on the ground that we'll leave the top maybe bit of something up the top of the rock. But apart from that, we should be okay. What else can we do? This tree out here as well? Still needs some work. Putting in these branches. It is quite dark. Like I said before, this is a lot of darker paint. You'll need some more scratching out in here as well for this bits of shrubs and things like that in the background. Because now we're finding that this area is starting to dry off quite well. The paint is not going to run back into these areas that you scratch out. I find for scenes like this, these tiny little scratches and things like that really helped to bring out the details of a scene. Especially because in water colors and painting in general, we're removing a lot of detail from the reference photo bits of these tiny little scratches and things. Put that detail back in. It implies that there's something else going on in here, even though there may not be. It keeps it looking more interesting, especially here. You see where you've got all this darkness and this shadow. Make sure the lines go off in funny directions as well. Not always, the grass doesn't run all in the same direction, having a few tufts moving over in different directions really. Okay. This is a great little trick to save time, but still managed to get in so much details, okay. There can be like a tree or something, just scratch out a indication of some tree or something in here, branches and that thing. Look at that. You can just get in details, just really low key details in here. Even on the tree itself, can you see that you can just scratch out a bit of that color like that on the right hand side of the tree to indicate indicate a bit of light or something like that. But let's go back into that tree. What I was trying to do in the first place was just get in the branches and some of the leaves. Just going to go ahead and put in, look at that. Just touch that branch. Then the branch coming over to the right hand side, they're disappearing off. Get another one here says I said before. Don't worry about getting in all the little details of the branches because we will be able to do them right here rather than waste your time. I'm trying to get them all in before because we're going to go over the top anyway with the brush. Okay, there we go. To actually darken, some of these have to darken some of this shadow. Let me just quickly respray there, darken that shadow will touch connected up. Got a smaller brush somewhere. Let me just find it. Got a smaller brush, round brush. With this round brush, I can just accomplish the same thing but with a bit more precision. Really just drawing in the branches and of course keeping it light. I just want to touch the paper and go really, you can see some of these branches start to go off and funny tangents and things like that often there, the more erratic, less care you put into these top branches can really make it look better. I'm going to put in some greens for the, for these leaves at the top. Okay. Again, these are actually, the leaves are a little d then you think then especially these sort there is that's just put this in, make sure I've got some indication of that. Keep it still light enough so that you can see through them. Okay. And on the right hand side, I might add a bit more yellow. Put in a bit more of that yellow there. Drop that in. Yeah, that tree there. Okay. I've made it come forward from the mountains a bit. Left the mountains and stuff darker, lighter in the background so that the tree can pop forwards a little bit. Some more scratching out for this grass and stuff. I want to add some more shadows onto this scene. I want to find some other shadows to put in here, mixing up into purple with that neutral tint. You can sharpen up a few things here and there. This rock behind is something I just need to bring out better. Again, just connected onto some kind of shadow to the left running to the left. Maybe another rock here or something, just indications of what's going on. Another, smaller bushes and things in the distance. Thinking whether I want to create a bit of darkness in the center of the scene, will do that here. Hopefully work to create a bit of contrast around this tree as well. Just darken that part and make sure you cut around some of the bushes that they're not all the same color, darkness doesn't go over the top of everything, something like that. There comes back down there, soften that edge of a touch a bit more darkness in some of these spots here around the rocks. H I bring out this log a bit, an indication of that log anyway, going over the top. And then you're just really just putting in these, just these sharp brush strokes over everything to indicate some darker bits of grass and tufts and things like that. 0. Some more bits and pieces. Here at the front. A bit more darker details and grass coming into the scene as well does help to just make it a bit more, give it a bit more substance. Notice around Hughes where it's pretty dark behind the rock. You can just getting a bit more of that shadow behind that rock. Some darker bits in the mountains are sort of indications of the bits and pieces there. Okay, let's give this a quick dry. Okay, to finish this off, we're going to use a bit of white wash. And I'm just a little bit on the palette already. It's dried up, but I'm going to use some of this white quash mixed with a touch of yellow. A little bit of yellow just to down a touch so it's not all too strong. I'm going to put in some highlights and little details of things that I potentially have missed out in the first run. Some bits and pieces here we have to do it quite quickly, just dry brush some of this stuff on. You see just little bits of dried grass and things like that here in the foreground. Anything like that. I find the gash really helps to bring back some of this little detail. Okay, use another bit here. Just the roots and things running across, maybe catching the light as well in certain areas. I dilute the gh down as well. I don't use it at full strength for this part, otherwise it's going to overwhelm the scene. But when it dries off, it actually dries off a little opaque, but you can still see it coming through doing its thing, hopefully without overwhelming the rest of the scene. It's just a finishing technique as well. We don't want to overdo it. On the side of this tree, you can see potentially there's some bits of light. I can bring that back. A little bit of that white guash with yellow in it. Find some areas where I just want to indicate a little bit of that light hitting the right hand side of the tree like that. Of course, I just want to use this sparingly. Don't want to overdo it. A bit more yellow in there, a bit more yellow and the white gas together. It's sort of like this warm, high light. And you can do it on top of this rock as well. Here in the foreground, there's a multitude of places that you can do this. You can do this and bring back a touch touch of that warmth in areas. Okay, you've got this branch as well here that has a little bit of light on it. I can look at that just broader, a little bit of that back. There's also these wild flowers, you can see them that stick out like that and I can just pick up that same bit of gas and just drop it in. Some areas like that create those little highlights in the things. It could be wild grass as well, that same muted down yellowish. Color. Okay, Put a bit over here as well. This rock, we've got some details here that we can put in the top of this rock. Maybe just wrap in a bit of that gas like that, bring back some of that light on that rock back. And this one perhaps as well. Just finding some areas that can only that you can of course put in some more rocks and things if you'd like. For example, if I wanted to make that more detailed, darker on that side, I've got a rock here as well. Maybe casting a shadow to the left like here, things like that on the ground that can dropping that gash on the right side of the rock. Some of these rocks back there had lost out, so I just drop in a little bit of color. All these tiny finishing touches, I'd be surprised, but they actually make a difference in the final painting. Once we have everything all together, these little bits of grass and things running through here as well. These lines of bits of grass going to be helpful. We can also mix in a touch of it with some green. So we can have a bit of green and yellow and more yellow to make it more vibrant. Okay. Can bring back some areas of potentially potential contrast. As you can see just on top of some of these trees and things, there's like a, a little bit of lighter green and there can drop that in and bring some of that contrast back in areas. I don't want to overdo it though, just in some spots here and there. Here, it's like vibrant green, isn't it? Like a yellowy, vibrant green. Balance it out as well. Move that around a bit. Even in the ground, I've found that there's a lack enough contrast vibrancy with some of this green. I can bring a bit of that back. I've got to actually be more efficient if I use the fan brush can bring some of this back, it's going to make it look more interesting just around in here. Bring some of that vibrancy back in areas, okay, that you've got it in the buildings. You've also got it in this area here. Okay. Some more on the left side where the grass is. Balance it out a touch so that we've got both sides with this greenish tinge to it. There's a lot of water mixed into this squash. By the way. It's a, just to become watercolor, normal water color transparent. Maybe a little bit more to outline the path. But apart from that, should be good. Let's just see what I can do for this path. Just outline it better. That get it to show up through this whole area and make it sharper as well as per the reference. We do that shadow running across and we are finished. 27. Karijini Park: Drawing: We're going to get started with this scene. The first thing we'll do, as per usual, we're going to separate this scene from the sky, sky in the Earth. It's around about halfway, a little bit above the halfway point here. I'm just going to draw a line running across the scene like this. Okay? This is roughly where the back of those cliffs finish off. Okay? You've got this river coming through the center here. And I'm going to just pencil in the bottom part of the little cliffs here. Okay? Roughly about here. They're out half way, finish about half the way through the scene. Okay, here you've got all these details and bits and pieces here. I'm just trying to put in the main outline of them. Know that it comes up like this, that keeps going up, disappears off up like that. Okay, up into the distance. Okay, there we have it. Lots of different layers of these rocks as you can see. But at the end of the day, I'm not hugely concerned of all the little details in these rocks, trying to get it in mostly just in one big wash later on with some highlights running through. You've got some trees and stuff running through the center like that, Then you've this cliff that goes straight up like that. And it's almost, if you think about it, about halfway, starts about halfway through the scene, about here. Then it just goes up and disappears out into the top of the scene right there. Okay? We've got rocks, we've got all kinds of bits and pieces of sticking out that's part of the cliff here. We've got another part sticking out like that. Okay. What else do we have? Just little bits where the rock cleaves. As you can see, you can do this here as well. You've got these little areas where the rock cleaves, bit bits and pieces here and there. Okay? It's more just to remind myself later on to create that extra detail, Okay? But keep, just remember that it is all just one big shape, okay? This large rock goes off in the distance and you can see the rock. These bands of rock just go run horizontally like that. Okay? It's not a big deal because we've got this tree here on the left, which we're going to sketch in in just a moment. But before we do that, I want to put in some of this shrub here, a few little bits of grass, golden dried grass here in the front. Okay? Really, the star of the show is the tree. Okay? We're going to start it off round about here. Okay? And we're going to use this tree as a real basic indication, Okay? I'm not going to try to get in all the details of it, but here we go, just a bit of the base, the trunk, and you can see the roots as well start to come off and go into the ground. Okay, There, there's even another tree here to the left that just disappears off like that also with some roots and bits of pieces here as well. Okay, this is the trunk, and we know we've got a bit coming out to the left like that over here. I'm going to put in a bit. Coming up to the right. It's pretty large branch that just goes up, stretches up, disappears off like that. We've got another branch here, again going off from this tangent. I'm just changing the angle of it a little bit to make it look more interesting. Okay, let's have a look here on the left hand side there. This branch, you've got yet another one that goes almost vertical, but it curves in and then goes up like this. Okay, there we have it on this left hand side coming in here. Little snapped off branch or something like that. Here we've got some like a little branch going up to the left there and some more. Another one here I often find the most effective looking trees are ones that you are quite intentional with you don't take too long, pencil in all the details. Now there is a person sitting there, but I don't want to get that person in. I'm going to make this look, have it more focused on the natural elements itself. I also want to maybe put in a bit more grass and stuff here at the front as well. There's a lot of focus in the reference photo on the actual bits of trees, like the roots and things like that. There's a bit here that looks like it's cut off like a log or something like that, just lying there on the ground. Bits of twigs and stuff as well, but some extra little bits of grass. I just want to create some texture and detail here over in the foreground. Okay, I've noticed is also like a little rock here in the water. You can barely see it, but it is like a little rock here that's laying flat, disappears off in the water. Whether I put that in or not, we'll see you also. I thought I'll just also get in a little outline of where we have the reflections of this cliff here. Okay, It just goes in and I want to leave enough here for the sky, this blue area of the sky. Okay, behind here, this is, the river also runs through there too. So I want to leave that area open. Notice there's another branch just coming off the side here of that tree. And it comes off on this weird tangent like that, it curves back in or something. But I'm going to change this around and just make it a bit more interesting. Go off like that. Okay. Notice how darker I'm doing the trunk as well. I'm doing it this way because I really want this tree to look quite obvious. Okay? To be a pivotal focus in this scene. Okay? When I want to put in another branch here, could put in another branch or something like that, going up here, branches off in the distance in the back left hand corner. This could be like another tree as well down there. Okay. All right, and I think we are ready to get started with our painting. 28. Karijini Park: First Wash: Okay. A little bit of cerulean blue for the sky here. All right. Just a bit of Sirulian blue. And I've diluted that down. It's mainly just water, five to 10% paint. Okay. And I'm just getting in the blue that's surrounding these mountains and cliffs, that kind of thing. Further down like that. Good. I will just darken the top of it a little more like that, tiny bit more. Just spread that downwards as well. I find it always helps to make the top of the sky a bit darker then lighten it up as we go down. Okay, now as we move down further through the scene, you'll notice I'm actually going to carry this blue all the way down into the water. Okay, here might carry some of it down on that side as well. Left hand side. Why? But mainly here. Through the center path that we see here, Center area there. Carry that all the way down ample amounts of this cerulean, especially further down here. Do the front, a little bit of neutral tint mixed in with the cerulean as well. To darken it off a little, gets a little bit greenish as well, so I pick up a touch of green and drop that in there as well like that. All right, so far we've got the sky in. What we want to do next is start putting in all the yellows and the warmer parts of the scene. So for me, I'm going to pick up some yellow ochre and I'm mixing in a lot of water through this water. Just mainly yellow ochre, a light wash of this stuff. Okay, notice I'm just letting it go through and touch some areas at the sky where the rocks are touching onto the sky. But also you can leave some bits, a little white in there as well. Okay, just yellow ochre. It's subdued yellow color sometimes mix in a bit of, a little bit of brown as well. That can help yellow ochre a bit of burnt sienna or something like that with it. Let's just see what that looks like. There we go. Okay, there we have it. Let's go to this one to the left now. Same deal here there. Just coloring it in that same yellow ocher color. Lots of water, lots and lots of water through here. Okay? This is going to make it much easier to preserve all the warm colors if we do it now down the front as well, look at this. We've got this grass and stuff, okay? It blends on with the water a bit. A bit of that grass running through here. Yellow ochre dropped in a little bit of white water color paint in here as well, just to give it a bit of a milky color. And all the way across here look more yellow. Typical Australian landscape where we've got just really dry yellow colors running through. Okay, bit of that white again. And I'm going to go into this tree, notice I've also put in a little bit of yellow through this white. And this is to just give it a little off white color because it's not as white as, as the paper. Okay, just dropping some of this. Okay? At this stage, notice we're not even doing any details. All we're doing is just getting in some basic lighter colors over the top of all this, all of this of what's going on essentially. Okay, over this right hand side, I'm going to go ahead and mix up brown color. I've got some brown ochre over here. A bit of brown ochre. Okay, I'm dropping a little bit of green in there as well. So brown and a bit of green. This is got to be. Okay. Now we're going to cut across. Okay, just underneath here. I'm going to try to do this all at once. Underneath this mountain there. Just drop in that color cliff like that. Okay. Here. And I'm going to join this on. Okay, there's this little rock in the water as well. Might just get rid of that. Keep it simple. More of that brown color around here. Also, I did notice there's like a bit more of a yellowy, like a lighter tinge to the water. I'm going to just drop in a few little sparkles in there like that. Across, running through this little bits of white in there as well. Just leave them. Just let those little bits of sparkly colors stay in there for the rest of it. Just going over with that brown touching a bit of black in there as well, to really darken it down as well. There are some parts, like for example here, that are actually a lot darker underneath the rock, but everywhere else. Everywhere else you go a little bit lighter brown and some darker brown running through the water. These are actually the darker bits of brown. I think they're like um, bits of foliage casting shadows and stuff in the water. You can even see it here. Look at that bit of purple. I'm going to put in a bit of purple through this mix as well. Just through here. Why not just connect that up? I don't want to get rid of all that blue as well. I'm being quite sparing with this. Okay. All right, let's have a look at the bottom of these rocks. Now, you've got again, this pattern of the bottom part of the rocks, which is darker. Okay. Okay. I'm going to give the top part a little dry. All right. So I've dried off the top of that area a bit. And the reason for that is so I can go in with a bit of a darker brown. I'm mixing up a bit of brown, perhaps a little bit of orange in there as well. Brown and orangey color. But mostly brown, dark raw, umber brown. Okay, like a reddish brown. And what we're going to do is we're going to get in this whole area of rock. The trick is to just do it quickly to leave some areas of the rock exposed, like dry brush parts of it on. Just to leave tiny highlights in areas that could indicate the light, potentially just catching onto the side of the rock. But really, I just want to get this all in in one, that one go if possible. Okay. Here in here, just some little bits of highlights again being captured that. Okay? And it gets dark underneath as well. Here, there joining onto the water. Okay. Left hand sign. I'm going to start getting in a bit of detail for these cliffs and what have you. And simplifying this down as well. Just trying to create, leave some of that light on the rocks as well as get most of this darkness in behind. If you look at it, the shape, it's mostly a dark shape with a few little highlights on there. We don't have to worry too much about all the tiny bits of every little bit of highlight on there. But just some small parts here and there. Look at that. Just a few brush strokes indicate that it's enough. The striations on the continuing on. Just some more of these. Just we're just cutting around these shapes at the end of the day, the tree shapes in the foreground. Okay, Like that. The few brush strokes leaving out some of the background yellow on there as well. Okay. Sometimes you can even use a smaller flat brush to help with this. A little flat brush here. Same thing goes, just creating some extra little details that I want to imply in here. Okay. Perhaps the bottom part of some of these cliff areas there. Okay? Drawing more attention to the light in the scene as well as you can see following these of the direction of these rocks. Okay? Because it's all wet into wet work. It's actually quite simple to drop that in there and it doesn't make too much of a impact, which I like. Okay. Yeah. Yeah, at the base as well here. Okay. I'll just quickly respray some of this stuff at the bottom as well. Because I want to give it just one more, a little bit more darkness at the base where we've got that shadow the reflection. Okay. Because there's actually some sharper sort of reflections running through. A lot of brown, darker brown, probably probably 10% ten to 20% water. Look at that, We can just feather in little details. A smaller round brush can also help at times to get in the tiny bits here like that. Okay, a little sharper bits and pieces, which is difficult, difficult to portray. Okay, it all just mixes together anyhow. Okay, join that to the bottom of this, a little cliff, whatever, A bit of water here. Again, you've got this nice yellowy color running through here. You don't want to touch that too much, that light that's still in the water. But for some other parts like here, I think this is a good idea just to darken it down. That will bring out the shadows. Okay, good. Can scratch out a bit of detail in parts as well. If you want a bit of the cliff here or there, you know, let me just see there. Your thumb. Okay. Like that. The sometimes having a little blade like this helps as well, which is sort of scratch out some small details. It's difficult to do this with the pat unless you want to put in some guash afterwards where the light catches on Kate. Okay, it looks like there's something happening there. Of course, here on this side as well, you can do the same thing. Scratch out a bit of this color here, back in the distance bits of the rock. Okay. So we've got a bit of stuff going on back there. It's keeping it interesting. One thing I want to work on now is a little bit of this little shadow underneath the rock, the cliff. Just drop it in there like that. It's really just paint. Okay. You also get some of it coming into the rock itself and you see that permeating through start from nowhere. It goes up as well there. Okay. Okay, Let's have a look on the left hand side. Yeah. We do have some darker bits of rock like here is a bit like there. And just again, just coming down in there as well. Okay, It's not all over the place but just here and there, a bit of sharper bits running through really do help. That. A little bit of this kind of browniness underneath as well, that the center there, Good, soft enough. Okay, again, you can just sort of scratch off some bits of highlights and things if you'd like. Keep it interesting here in the foreground, I'm going to start using some extra yellow ocher. And flicking a bit through here for this bits of grass. And, and it's not just grass, but we've also got some twigs and bits and pieces too. But see how I'm just getting it to run through the water a little bit, especially where there's some wet areas. Okay. This is going to just help it to blend in better. You've even got some green grass that's more greenish, bit of cerulean blue and the yellow ochre. And this is just going to create a subdued down green. We can mix that in with a bit of black or neutral tint and see how I can get in some small little strands of grass coming in like that. Okay. It's probably not dark enough. Just put in a bit more green and a bit of black in the darker green. Okay. You see here, there's actually a dark spot there which I can get in like this, try to make it all connect with each other rather than paint everything separately. Okay? This is just going to make it flow and look a lot more nicer. You've got this connection in between both parts, okay? A bit more of that lighter yellow in there. You're noticing maybe it's too light, too dark up. Just putting a bit more yellow in there. A bit of white, a bit of water color white, and maybe some yellow and white mixed together Just to warm this up a bit, it's too white. Okay. Are you look like you've got some different layers in here. Different layers of grass, which makes it look a lot more interesting over here. You know, you've got all this kind of stuff going on. It's basically basically a little twigs and things. Okay. So I can go ahead and just, I'm going to put in a bit of guess work. A bit of this stick or something like that underneath this tree, you'll notice there's actually a bit of darkness in there. So I can just go dark area, darken that bit there as well. Okay, the whole tree actually needs to be dark slightly, but I want to still use this creamy color. Maybe putting a bit more yellow in there on the left side of the tree. Like that. Leave out some of the yellow lighter color of the tree. Okay. This melds into the bottom parts like this. Here, there are these two parts that just go up like that. Okay. Going up here again, I'm just, as you can see, just putting in a bit of color on the left side of these branches will l to color on the left left side of the branches. It's definitely, it's just titanium white. But it has some similar properties to g ways because it is an opaque paint. Okay. And it helps me to bring back some of this beautiful kind of lighter color on the trees. 29. Karijini Park: Second Wash: Some of the roots, the tree roots as well coming across the ground, circling around the trees, and doing stuff here as well. It's mainly just the darkness that I need to work it into. I've got some darker colors and neutral tint. A little bit of neutral tint left over. And I'm just going to use that to create little contrast around the tree roots here. Okay. Blend that in. Blend it in, okay. You can be quite dark in some areas. Actually, really, really dark. Kay? So much going on in here, sticks and stuff. Who knows? I like how you can also just, again, use this scratching out technique in areas to bring out some details like the branches and the roots for example. Like this. Okay? You can almost just draw them out even by scratching out, okay? Make them look a bit more interesting and create a sense of connectivity as well with the grass and everything else. Okay, Notice how that I just get it to blend a bit more this way rather than drawing everything in, painting everything in. Okay, we've got some grass that just overlaps over the top, that little clumps of grass and things running through there. Okay, good. I did notice here in the background as well, probably it should be darker just beyond the base of the tree. Pick up that same flat brush again. And let's, let's just go and give it a bit of extra darkness back here as well. This part also could do with a bit of extra contrast there here. Okay, like that, but leaving some of the yellow behind as well. Don't worry, don't have to get in everything. Okay. But the extra contrast running through extra darkness. Okay. That's really going to help bring out the trees a bit more Here, I'm even darkening extra along the background section and kind of following the creations of the rock as well. And adding in a second layer essentially for some of these creations and bits and pieces like over the top. Notice how it's helping to imply this detailed. Are Kate also bringing out the sharpness of this tree, which super important that you get some extra darkness under the tree. And bits as well here that you can just imply. But again, it's not a huge deal. I'm trying to get it to blend in more than anything, okay? But little touches of black here and there, you'd be surprised it draws the eye and create a bit more interest. Okay, see a little bit there here, for instance. Almost build it into these little rocks and things in the background. And use that as a way to further draw out the branches. Look at that and suddenly the branches start to come out more. You can even bring out like one here, couple here with a bit of this same technique. Not much painting here. Just probably not much water means about 10% water. Most of it is just paint straight from the, from the palette. Okay. And notice how that's really, really making this tree stand out. Okay. You could do it to this one as well. Just a bit more here and there. All right. Now in the background, I want to put in a bit of green. I've forgotten all about those trees there in the back there like a lighter green color. So I can just drop in a bit of this here, some of these trees out the back. Again, I'm just using this one flat brush to do it connected on with the rocks. Even pretty basic tree line out the back. That has to be light. Remember, don't put too much color in there, even on top, on top of the cliffs as well. We have a bit of detail for these other little trees. These tiny little, you seem basic darker trees that just come up and grow off the top of the cliffs. Okay. They get smaller as we move out into the back, but some off the top there that helps. You can even see some off the top here. Really little ones. Okay. A touch of some subdued bits of green in there as well. Just a lot of water and a bit of this darker green just to give the trees a bit of a little bit of foliage out there. Okay. Something basic like that. It too dark bit here as well. There's some little shrubs growing on top of this cliff as well. You can see in some parts, little details do help, that's for sure. Okay. Some little scratching out for the grass and things here. 0. Some neutral tint. Again, just to draw out this branch a bit more Good. We're going to need some branches and things. A little branches, leaves as well. Here, Just filling this in with a bit. An old round brush that's just lost a lot of its bristles and that kind of thing. I'm just going to feather in a few of these leaves and actually later what I'll do is actually put in some lighter leaves with some guash. Okay, but for the time being this will be a good, just add a little bit of texture and leaves so that this tree looks like there's something going on in that tree. Okay, Yeah. Again, like I said, just creating details in the tree and bringing out the branches by simply adding darkness around them. Okay. Okay. I'm going to add in a little bit of white. I'll mix that in with some green. Okay. Which basically I've just got some yellow, white, and a little bit of that green. So we can get in over the top a nice kind of lighter green color because some of these leaves. Okay? Just simplify this down and we'll dry it off quickly first. Okay, little bit of this green, light green that I'm putting over the top. And it's actually, like I said, it's just a bit of titanium white water color, titanium white mixed in with the green. I have left little bits of green that I have left Okay. To capture some of the light that we may find on the trees. Okay. Might pick up some more here just with another brush. Another, this same brush that I was using before, this mangled round brush. Because I find this is actually a little bit easier to use in ways. I don't want to overdo it, just a few bits here and there like that. I think even this bit I've overdone it. I'll wipe it off. I sprayed a little bit. I just wanted to mix and dilute down. I'll go over here and just actually redo this section with the didn't want much in there. Just more of it. Dark, more darkness in there actually. Okay, a little bit of texture might be good in the tree. Dry brushing, little texture here in places the brush is pretty much dry. I'm just adding in a few stray marks like this to indicate the textures on the tree, the bark. All we do is just add in a tiny, tiny little bit of water and then dry off the brush and then drag the brush across the surface like that. You can quite easily make this pattern appear and make it look like this bar, little bits of things on the tree. I don't want to overdo it though. Darkness some parts. This is just that same old darker sort of color, neutral tint that I've used. That yeah. Okay. In the water, I did notice this, like a little rock there that I've not painted in before. I can just put in like, a little shadow underneath it and see if that how that goes. There's a shadow of that rock under the water, something like that. Okay. Lost some of this darkness running through these shrubs here as well. I'll quickly put some in a bit of green, dark ones just coming up. Whoops, that one's too much, it doesn't matter. You see the reflections of some of them as well on the water that don't be afraid to just break up those lines as well. So you've got some Dt like broken edges like this. Often you do get these broken edges when the sun catches on to the shrub or the stem. Just putting in a few little quick here and there to indicate some small details like bits of grass and things. I can have some here, for example, that a little bit of gosh, To finish this off, I'm going to pick up a tiny little little round brush and some pure white, just a little water to activate it. What I'm going to do is just drop in a few pot dry off the brush a little bit. That might help little pinpoint areas of sparkle in the water. We've lost out. You see them sometimes on the bottom of the areas of this cliff here, but just tiny little things like floating on the water as well. But this really helps, I think anyway, to bring things together. Okay. Even on top of this rock here in the water, sometimes you get a bit of light that just catches onto that, that down the bottom get some larger white spots here and there. That's why I say if you can leave some of this beforehand, just leave it with the, leave a bit of the white of the paper coming through. It actually works better. Okay? But otherwise you can use this and look at that tap onto some areas where you want to imply perhaps some light just being caught some little spots here and there. What's also nice is if you have some yellow, can mix a bit of that yellow with the gash. Tiny bit of yellow, got some conce gold, you can go in, lighten up. Little areas where you might want to put in just a little touch of highlight and you don't want to overdo it, just find some spots that might work for you on the tree outlines of the trees and areas that bits that look a bit rough. I'd like to just redo them and touch bits and pieces like that bring back some detail of the trees. It's tricky, but works well if you do it, use it sparingly. Okay? Especially because this tree, as I said before, it's like the star of the show. We've got so much going on in here and a lot of the time you're just trying to imply stuff that's there like these. A couple of branches I thought I'll put in a bit of squash over the top to indicate indicate that that's a stick or something like that right there. That thing. Just picking out little bits? Yeah. Okay. At times you can even just put in see like another branch, like smaller branches running through the darkness here as well. Same color. Just weave your way through and create another path potentially like here. I thought this might be a good opportunity to put in another branch. Okay. Something there or not, It's up to you. You kind of just go through and put on these final, quick little finishing touches. Little tops of these cliffs as well. You can see this, some little bits of high light. So I can just go ahead and bring some of that back again with this squash quickly in areas but not overly see just picking it up and drying off the brush and doing this sort of thing. Okay? And you can create this illusion of the light getting caught on the edges of these cliffs. Okay? Dry brush, a little bit of dry brush here and there, as you can see below a little bit there, but not too much here. Again, like that can even do on this side as well. Lost out a bit of that. Lost out a bit of this stuff before. A little bit of a tiny little bit of guash here as well in the foreground. Just to add in a indication of the squash, this little grass, I suppose the lighter colored grass there. I think we're finished. 30. Lake Scene: Drawing: Okay, So let's go ahead and get started with the drawing. I'm going to start by just separating the page roughly in half because that's where the sky meets the Earth, roughly about here. I'm just going to draw this line across like this. There we go. The paper is separated in half. Okay. I've got a little bit more down the bottom. I'm going to go and get in. You can see here, this edge of the river river bank here or the edge of the lake all the way across here. You can see where it exits out, about a third of the way into the page from the left. Okay? The rest of it here, the rest of it is just the path that comes in and that part of the path comes out about here. But you've got some trees, just some trees that run upwards and just get in a few of those here. Okay. And give it a little bit more presence. The tree trunks and they're actually quite tall. Noticed around this area the trees very straight and tall. You've got some of these ones in curving in like one about here. It's growing in and just curving into the lake itself. But apart from that, all the other trees in here, they grow pretty straight. I'll just get in the other side of this squiggly part of the tree branch. I think having this tree here especially that's just a bit off and has some distorted limbs. It just makes it look more interesting because we've got all in the background, like I said, straight trees except for the ones near the lake, of course, they just seem to be growing off on some little tangents. There's also one here, look, I've just spotted another tree that comes off on a tangent here, goes all the way in into the scene here like that. Here we are in just a bunch of more of these branches just going up and you don't have to get in all the detail. But for me, I just want to take my time, put in some of this stuff here, potentially use this to guide me. Later on when I'm painting the trees in, I've got an indication of where the branches, which direction they're moving into. You've got this one coming off on a tangent like that off to the left. It just makes it look more interesting. Rather than have everything just move upwards, we've got some lines also running horizontally into the scene. You've also got of all the leaves and things like that, I'm just shading with the edge of the pencil. Just shading with the edge of the pencil to indicate roughly roughly where, where they're going, where to put these bits of green and stuff in later on. Okay. It's not huge deal. Okay, This one here is, I think, going to be quite an important part of the scene. This little one coming up through the center of the scene. That's why I'm just detailing it. A little extra that I don't forget sometimes when you go over the top later with a lot of color, sometimes, but all the time basically you'll find that the water color is actually just dissolve some of that graphite and shift it around so that you lose track of where everything is that you've drawn in for the important bits and pieces. Will do this thing, go over it in a bit more detail. On the ground, you've got of course, bits of debris and things like that that scattered on the ground and going to pick out a few bits and pieces that I can just indicate. Really not a big deal. We'll get some of this stuff in later with the water colors, as all leaves and stuff like that here. I've noticed also that Got a light source, basically a light source running from the left to the right. Okay, I'm going to just imagine another couple of trees coming in here in the mid ground here. We'll get them in later. But you've got this bit of darkness running across the ground of this tree here. I'm just going to emphasize a little shadow for that tree as well. Just raise a bit of this because I think I've done it to make that shadow a bit wide. Something like that. Okay. And also there are some shadows that seem to be coming in from the outside of the scene. Okay? From the left side, from some trees. Like softer shadows which I'm going to get in just like that. Okay, Let's go ahead and I'm going to put in this larger tree coming in from the left. Yeah. Branch there, couple of branches. What might help as well is thinking to myself whether I just invent another something coming in like this. A tree like this coming in from the left hand side. A bunch of these here. This might help as well to indicate the shadows. These shadows that I've put there. Just a bit of an indication of those shadows. Okay. Just something like that to help indicate where those shadows are. Okay. Apart from that, you've just got these other trees here in the background and they are pretty much just have these white trunks and they are all completely straight. There's so many of them, it's almost difficult to see where one starts and another one ends. But you can just draw in these little lines like this essentially and get in a bunch of these white looking trunks. Okay, really just an indication because I'm thinking later we'll have to go over the top of it in some guash anyhow. Okay, but this does help the tops of the trees. Again, just a little bit of this, let me see just a little bit of this shading that I'm doing to indicate, indicate where they are. Okay. Now another thing I want to do is of course the idea of these reflections here in the water. And you can see the trees, these white trees have a reflection which is around the same color, white reflection of the tree trunks, creamy white sort of color. That's just going down into the, further down like that. There's some breaks in between some of them which we'll have to put in later. Okay, But we've got an area pretty much like you've got, again, the foliage on top of the trees that ends here. And then you can see the reflection of the sky coming through. Okay? And this part here is just going to be blue. Okay. The reflection of the sky. Okay, I think we've got a good little sketch and we can go ahead and get started on our painting now. 31. Lake Scene: First Wash: I've got a couple of brushes here. These are watercolor mop brushes, large belly in thinner tip on the end. A small tip. And this will allow me to get in the details of this scene without too much effort and being able to cut around bits and pieces. Now the first thing I want to do is look at the lights, the areas of light in this scene. I think just around here, these tree trunks that some of them just could do with a little bit of this buff titanium, which is like an off white color. A little touch of this off white color that I can drop in for some of them, dilute this down a bit. I've also got some white mix that white gash in with the little yellow that I have left on the palette to do this exact same thing. These are just backing colors. And I'm going to go over the top later on and get in some of the, get in some of the trees and what have you out in the back. Okay. Shrubs around the side. But for the meanwhile, I can just put in little indication of them like this. I don't want them to be too vibrant. Just mute some of those down at this yellowish white, mostly creamy white color. Okay. You've also got another one just running across down there. We can leave that out as well for later on. Now around this area, actually before I forget, we should get in a little bit of this here in the reflection. See there just these little reflections here in the water of the bits of tree trunks and things like that. Okay, just a little bit of something going in the water that is the same creamy color. I don't want to lose out on that. Some of these trees are so tall, they go right to the top like that. It's amazing. Let's go and get in a bit of this area here. And I'm actually going to use some burnt sienna. Maybe a little bit of red in there. Burnt sienna. A little bit of, a little bit of orange burn, red orange, mostly some of the yellow ocher here. The ground is like a yellow, reddish color. It's a very earth and a lot of clays and what have you. When we were down there, I want to put a little bit more red in there. Give it some more red inside, A bit more warmth. Just testing out. Okay, now that's good, but I want to actually put in a bit of this golden, yellowy color, acrodone gold. And I'm going to just get that in some of these areas first. Okay. Bring some of that up like that even. Okay. A bit of a mix around here, down below as well. Light wash of this stuff. The reason why I'm doing this is I can get in a bit of the layering of this other color over the top, earthen reddish color over the top. Little bit more tiny red in there. Look at that. Just this is a bit of brown, bit of brown. Drop that in there as well. I want to preserve a little bit of light. Get it a bit darker around this area here. That darker, of course, there's some little shadows running through there as well. I'm going to pick up a bit of blue, ultramarine, blue and purple. I'm just going to drop in a little bit of this color mix that in bit of this color to just indicate some shadows may be coming in from the left hand side of the scene, not just something. Okay, we can do the trees and stuff like that, but this should dry off nicely. Now let's, let's have a look at the trees, the sky, and of course the water here as well. I think what I'll do is start a bit with the sky because it's going to be tricky to get the sky in later and especially preserve that blue in the sky. Give it a quick spray here. I just want to dilute this out of touch. Another good thing to do is you can actually pick up some bits and pieces. Color, just flick it through in some areas like that to create a bit of color running through and interest. It could be debris, could be anything in there, just something to give it some character. It's a bit messy. I don't like doing this all that much. Actually does help. Okay, for the sky, like I mentioned before, I want to get in some of the blue there. I want to get in a bit of the blue here as well in the water, cerulean blue. Just going to mix up a whole lot of this stuff. Okay. This is going to allow me to just get in the indication of the sky like this. Very light, by the way. Very light. There's not much water in here. Probably about 10% water. Okay. I'm going around the edges of the trees like this, the edges of the trees, what else do we have? We've got some coming through here as well. Inside the trees is section here as well. So I can just flick in a bit of that color into that section. Okay. Remember it's not a huge deal because we're going to be able to reclaim a greens back later on. Okay. But that's why the blues are important because it's very easy to get that to turn to green if you're not careful. If I get that in first, there's no real risk of that happening. Then of course, over here in the water, we have a version of the sky in the water. Look at that. I'm just flicking it through in some areas and you can see it in some parts, like here as well. Okay. It's just a slightly darker version of the sky. I'm using a bit more water in here. A little bit more paint. Sorry, going around that. The I'm trying not to touch this area too much as well and get it to join in some parts. But otherwise not much, because I want this to dry with a bit of a harder edge actually. Here it's joined. I can't really do much about it, but that's fine. Later on, I'm going to actually go in with the sharper edge around there, but we've left some of the white here in the back, which is good. Now what we can do is, while everything is still settling in, we can put in some of the mid values, green, mid values. And I've got so many greens here, but all you need is just one darker green. You can modulate, change that green and make it add little bit of brown to it to mute that green down. Or you can add some darker blue to add, add some darkness to it as well. Okay? Just dropping that in and you can see how I'm getting that tree line in like that. There is some stuff here as well, the who's. Just greens all over the place. Really? I'm not really going to try too hard in terms of getting in all the little details, but one big game I have is just to get this all to join together nicely and make sure that I keep it light enough as well. Look at that. Just drop that in that greenish color in I'm using a lot of water. It's still about 80% water for this mix because it's quite a dark green that I'm using. There's a few different greens that I'm using to. It helps if you use like an emerald green and a Hooker's green for example. Together you can just get some more interesting mixes. Can mix even a bit of yellow through there to get a lighter green for this area. Some of these Hansa yellow will give you a more vibrant green like this. Just plant this tree here. The whole aim here is not to get in detail, it's basically just to get the color and basic indication of. The foliage, all the mid values of the foliage, the darkest values, not the lightest values, pretty much everything in between. Okay. That's why I'm still using a lot of water because we're not at that stage yet where we are going to actually put in any detail. We're just getting in colors. We're getting those colors to mix and blend together. Look at how it's just going into the ground as well, the yellows. Okay, We go all the way until it gets near to the water. Of course, around this section as well is where I'm going to need to do a little bit of cutting around. And that's where I've got myself a flat brush. I can find it, a little flat brush and this flat brush will just help me cut around the whites. Okay. I don't want to do that just yet though. I'll finish off this area to get in a little bit more mixing. On the left hand side, if you can see that there's so much going on, put in a little bit of extra darker bit up the top like that. Just shift that a little bit around. Okay. It's more like an emerald green color for this area here. The flat brush. Back with the flat brush, I'm going to pick up some more of that emerald green. And also I've got a bit of yellow mixing, a little bit of yellow through there as well. All I'm going to do is this look a leave in those trunks. Okay. It doesn't have to be perfect, but I do, I do need to leave in some resemblance there of those white tree trunks. Okay. In this flat brush, it does it perfectly, in my opinion, makes it so much easier cutting around these trees. This is all I'm doing. I'll try to do it as quick as I can. Here, there's like a bush in the center, like a larger shrub in the same color, trees going behind it like that. You trying to replicate that reference a little, but at the same time. At the same time, it doesn't have to be perfect. Okay. Just so that you can see these trees back there and know that they are doing something. Okay. Now we're going to replicate this here in the water. Water is like a dull green mixed with a brown. I just want to in a little bit of red in there. Now, if you mix a red and the green together, you get a very muted down version of that color. It just neutralizes that green. I want to make sure that this area is D. We want more darkness in here, but we don't want it to be completely super, super dark. We want it to be just darker than the actual trees themselves. The reflections will be darker. This is just a look at that, carrying this reflection through that. And this area hopefully is beginning to dry or it has almost dried, which is allowing me to do this cut over the top of that blue. Okay, notice where the trees are and if it hasn't dried, just give it a quick, quick little dryer with a hair dryer. Maybe at a touch of neutral tint in here. I want to make sure that it is dark enough. Okay, like this. Look at that. That the trunks are reflected here nicely in the water. That this area here is just a reflection of this bush as well. So I'm just going to copy that. Okay, It's not all perfect. And you're going to get some areas which just blend together. As long as you have a basic indication of what is going on in here, these basic reflections, you're going to be okay. All right, a little bit around the back here, you get some of this stuff that has dried off already previously, but most of it. Most of it here especially, is still wet. Can add a bit more in here. Maybe a bit of brown, extra brown, and some neutral tint. Darken this up a little bit more around here. Okay, neutral tint is one of the best little colors that you can use just to quickly modify and make a color a bit darker around the edge of the river. You can see it actually goes all the way around to here. Okay. And not only that, the it actually there's actually areas that are still visible. Still visible, showing through as well. A bit more brown, a bit more neutral tint, and a bit more of this emerald green. I've run out of paint, so I just got to mix up some extra. Okay. What else do we have further down here? Again, reflection. Okay. Leaving out a bit of the blue for the sky. Okay. Yeah. Again, keeping it a little bit dull, this color. Darker but dull. It goes all the way to the edge of the lake. Like that edge of the lake. And then it just, we can just replicate that around here. Here we, again, leaving out a bit of that sky to do its thing. Everything has to be the same here, a little darker. Spread this around, bring it downwards. Neutral tint and more brown in here to dull it down. Trying to leave some of these trees that I drew in white because I'm worried I'm going to actually forget about them if I paint them all in. Okay, here we are, nearing finishing point of all these. Getting these shadows in reflections in, oops, that's a bit too dark. I picked up a bit of black by accident. It doesn't matter, just shift this around a bit. Okay? Okay. And just, it comes around like this on that side here as well the here. Okay, good. I might use the little fan brush quickly to do so many sharper edges in and stuff just to make it look more cohesive. And we'll just join up some of these areas as well, like that up the top. The biggest thing, we just want to leave a bit of this blue down below. I almost want to just lift out some of this stuff here as well. Just, there we go. Balance it up a bit. Okay, good. Now this stuff is really starting to dry off and this is a good time to put in some darker colors over the top. Okay, And again, I'm just using this flat brush, fan brush, and just going over the top of it with a bit of a few little strokes thing you can see it's still wet. Okay, we can alter this down a little bit, change a little bit before it dries, because I want to go over the top with another layer of sharper details and darkness as well. But we can't do that just yet. Okay. Even these ones out the back here could do with a bit of just extra flicking around, this detail like that. Okay, just make it look a bit more interesting out there because you only get one chance to do some of this wet and wet work and it looks absolutely amazing. If you can work on this while it's still wet, just drop in a touch of that detail. Even in these shadows, like the reflections of the water, there's inconsistencies. It's not just all the same color. Some of this stuff helps, just altering it, changing around some bits and pieces. Some bits may be Dm, just dropping in a bit of extra brown here, for example. A bit of extra brown spots even down the base. I'd say it's actually quite a lot down here compared to other parts of the other parts of the reflection. Okay, good. I'm going to just maybe flick in a bit of extra paint here in the ground as well. A bit of a bit of purple here. Flick some of that through like that to create some inconsistencies and bits and pieces. Just paint dark paint, bit of brown. Maybe Flick some of that in like that, like this. You keep it interesting. Lots of little details out here, but you can't get too obsessed with them. Maybe a bit of blue in the tiny bit of blue as well, okay? Some little branches and stuff just squiggly lines here and there that could indicate something or not really fuss at all, just as long as there appears to be some detail in there. Okay, let's give this whole thing a dry off. So now to get into the second part of the painting where we're just going to bring together, especially the little details of the scene. The first thing I want to do, I want to get some details for the trees, dark sections of these trees. I'm picking up some of this emerald green. I've also got some other darker green here that you can mix up by putting in some blue, mixing that blue into your greens. And I'm going just flicking through some of these little leaves and things coming in from the right hand side of these trees. Beca, we're actually now really putting in the values in here at the darkest value because we're going to put in some of the tree trunks and things which are almost black. Okay. But I want to also make sure I'm leaving in some of the details previously as well. We don't want to get rid of those amazing little details and even bit speckles of white and stuff running through there as well. Use a few different brushes, this is going to be good to look at that. Just got a mangled brush, it's like normal, What do you call it? Flat brush that's being disturbed and used for a very long time, just creates some irregular shapes. Okay. But this just indicates some of this, a little bit of that green and the darker bits and pieces of the trees. Okay? There's even this tree here which is actually, there are some really vibrant greens in there. But there's also dark spot, slightly darker spots that I have to indicate and get through like that. Just like that, this all just joins together no big deal. The trees out in the back there. I'm almost tempted. I'm tempted just to leave them or go over some areas with a very light brush strokes like this because really they're looking quite decent, they're also quite far behind. You don't want to overdo those trees in the background. You want them to look like they're in the background being pushed back a fair bit. Have noticed there are some dark spots here near the lake. Down below, just some darker shrubs and things that we can get in the basic shapes of them like that. And you can see them actually running through the trees as well. In some areas, this is my opportunity to get in a little bit of that stuff there. This will dry off nicely. Hopefully you don't really notice too much of it. But this second layer does it does really help create a bit more interest back there here. Now some more trees and like darker brush strokes for these leaves coming in from the left hand side. Look at that. Just a few brush, simple little brush strokes like that, Swap the brush over. This is now flat brush. Okay. Just flicking some of this paint through. Yeah. Making sure it's dark enough as well. Because we've got this tree here in the foreground. These tree trunks here in the foreground that I have left white. But this is going to help to indicate the direction of why this area here is a little bit darker. Not much but just something like that. Ok, this is also going to push back that area so that we've got some dark lighter looking trees out the back. Okay, good. Now what I want to do is start working a bit on the trees themselves, especially just outlining a bit of detail on some of these trees. It's difficult, but it can be done. I'm just really picking up some neutral tint, a little bit of purple. Okay, let's pick out a few, maybe we can pick out one here. Um, that. Okay, just a little detail, some areas like that. I think it's going to be easier for like these areas, but we'll give it a quick dry. 32. Lake Scene: Second Wash: Okay, So still got that gray and you can see like just in some areas there's like a separation in between the trees like that. That okay, You can then use to just bring out some definition in the surrounding trees. Like a branch, for example, going up like that, you really having to do this quite sparingly. The only thing I'm doing here is trying to get in an indication of some of the branches and stuff like that. Just going through the tops of the trees. Very difficult to do subtly as well. What will help, I think is a touch of guash, bit of white quash, a little bit of yellow mixed in there. And got this rigger brush and dry that off. Let's see if I can just carry some of this stuff around through to the top. I got a lot more control for some reason with the smaller flat brush, but here's an example, Kate branch going up, this Kate, the tops of these trees that's going to join on all the foliage, you know, some of these branches just getting them in. Not all of them but look at that kind of looks like something mostly just pure white guache that I'm using for this. Hey, areas that for example, you've lost out, down this trunk, maybe that's gone. You can go in and bring it back a little bit into the water with the squash that bring some of that reflection back into the water. Some areas as well here that you might have just lost out or the top part of the reflections, things like that. And you know, you don't want to overdo it as well. You just sort of just enough really. Okay. I mean, you can even just skip through this whole stage entirely if you want. Okay. A little bit tree sort of running up here as well that I missed out. But this tree here see just something larger, larger tree there. And you know, you've also got the reflection of it here in the water that disappears. And disappears. That, yeah, that's one of the great things about Guash. I suppose you can recover parts of this part of the scene that you lost before. Bring it back. Okay, Now I'm going to work on some of the darks of the trees and things like that. Now, neutral tint and a bit of purple, really dark mix of neutral tint in purple, but still watery enough so that it's transparent. Let's have a look. What can we do? This is what I was talking about. Wet the pencil work here. I have to work straight off the reference. Okay, but I can see a little bit of that. Coming through a little bit of the pencil behind there, so I can just figure this one out. That this is this little tree up up the front. Okay, I'll try to do most of it hopefully with the flat brush like this, but you've got a little rigger brush, rigger brush that I use from time to time. And this is great for these tiny branches and things that you can't get in normally unless you focus a lot. But this makes it so much easier to get these in without much effort at all. Even a tree out here in the back, another tree coming across there, look at that. It doesn't take much effort at all these large tree trunks that we put in before running in from running in through the scene. These ones that just go all the way up through the scene like that, the broken edges as well on them, so you don't need to worry too much like that. Another one here, come in and out of this foliage, that tree running across like that here. Okay. We don't need to spend all day doing it, but I'm just trying to get in enough of these indications of these trees running through on the right hand side. Then put in a bit of a shadow, which I'm going to also use the same color. Let's join this up here, but it's got more water left in there. I want to leave little bits of the yellow perpotentially just running through. Okay, look at that. This one here as well. Hey, I'm just putting in another darker tree running through there just to give that shadow here a bit more, more of a reason to be there, I guess. Okay. We've got some sharp shadows. We've got a lot of stuff going on in here that we don't really need to worry about anymore. I want to work on the left hand side and just put in a little darker bits for this tree as well. Look at that, I'm actually going to mix in some brown with this purple, brown and purple together. Look at that. Just get that coming out the top like this. Let's not fiddle around too much that here as well. This part of the tree there. Okay. You've got some branches and things just coming in over the top. Some smaller branches which I think the rigger brush will do quite well. Look the whole point of this, I just want this to join up left and right hand side of the scene. A touch that it's not all disjointed. Suddenly you've got this middle area here. I want it to come together a little more. Okay. Oops. I went a bit too far there. It doesn't matter. Okay. Another thing I'll do as well is just put in some darker leaves over the top. In some areas. Didn't want that, but there we are. Okay to join up some of these branches a bit. And what I'll do here is I think I'll just maybe spray this a little. Okay. And just get in another darker shadow indication like running across like this. Whole lot but just some parts. I just want to have a little bit more darkness, especially down in the front of the scene. This is supposedly from the left hand side, these trees on the left hand side just casting a bit of a shadow to the right like this in the foreground. I think this is going to help to bring out, bring out of the light as well here in the back. I'm just going to try this. I'm just going to try to put in some shadows coming in from the left, some sharper looking shadows, maybe from these trees coming out of the frame. I just think there's something missing here that I need to connect this part of the scene up. Okay. I'm going to just try this like that. Okay. Can make that up a little bit like this. Some squiggles for, you know, just making it look like there's some branches coming off it. Soften this edge of touch as well. Just soften some parts of it. I don't want it to be too overwhelming. Another thing we can do is add in some bits and pieces. For example, I could have a rock here or something like that. Like a rock there. We know the light source is coming from the left. Just a few little rocks like this joining this whole area. It could be like a log or something, as we could make it look like there's a log. But I think will make a good area just to join up some bits and pieces that can be a rock there. Another one here I'm just picking out, see there's little white highlights on the page. I'm trying to make them look all the same as well. I tend to extend that. Of course. They all have a little shadow running to the right as well. You're going to need to just indicate that, okay. It does look a little messier than I wanted, but it doesn't matter. Put in a few little bits and pieces on the water. Just some. Okay, I might leave that, but we could lift off some paint in the water. Like, I don't know if this is such a good idea, but, uh, like this, lifting off in some parts to break up the break up the darkness of a lot rubbing on the page and lifting off in areas like this, this will create some little inconsistencies and watches. In areas. I got a fill bit brush somewhere in here which is meant for doing this. Just especially if you've got some sharp edges that you want to soften off a little bit, this works quite nicely. A little bit of this lifting off technique, I love using this as a bit of a finishing touch to bring back highlights and create softness in here. And help to join everything up together. So easy after a while to lose, lose touch of some of this softness and beauty of the original wash I can just lift off of. You can make it look a bit like smoke or something in the background, but a mist in the background as well. Like this where the water connects on the trees out in the back. Probably just want to put in some more paint in there actually. I don't like that. Might have to just deal with it. A bit of white gash sometimes does help areas like this just make it look a bit misty in atmosphere at the back. Really a bit over here, a bit of white running through there creating this misty like effect that, that mist spreading around at the back section. This will really dull down a lot. Anyway, it's not going to do, going to change the scene a whole lot, okay? A little bit of gush and a little bit of yellow. Let's put in some highlights, some of these rocks and things that wasn't a rock, this is a rock here. Have to do it for all of them. But just some of them you could be used to indicate what's going on. That could be a rock as well. I think I need to use a better brush, sharp one like this, normal flat brush, Do a better job. Yellow and white wash, it got some fresh white quash. And I'm going to just bring back a little bit of sparkle in stuff here. A little bit of sparkle in something in the water, you know, running through in areas like this, creaking that tree. And you can do this forever, really just to put in getting all these little bits and pieces left over to finish the scene. You know, it really goes on forever if you want it to. This is me just getting in a bit of water in here. A little bit of water and to lift off a touch of paint maybe in that section to create some extra detail. The shadow on the rock and just sort of running to the right hand side. For some of these I just need to redo them better like that. Okay. Did thought maybe it might be good to just put in a few here and there. The center of the scene like that thing, that they just look a bit more mixed around. You know, it's not all in the same spot. Bit of the shadow, basic quick things like that. Okay. We get in there slowly but surely. The last little thing I want to do, I want to dry it off. And then spray some of this stuff. And a little spray here quick. Little spray and over here as well. Okay. And what I want to do is potentially just see if I can scratch off some of this paint to create some grass and twigs and things. Is just with a pocket knife. Okay? And you can see it, it's already working. You see just these little bits of paint that I'm able to scratch off the surface like this. That's how you indicate like little sticks and rocks and things like that. I just spray that section a little bit more with this is that it does mess with the previous squash and stuff that we had in there. But things like these little leaves and what have you even here Running through the back, there's bits of grass and stuff. You can bring some of that, the highlights, little bits of grass and things back over here as well. Just some bits of trees that maybe going up there. This bits like starting to dry. So notice how I can just scratch in some stuff here as well. Look like a two twig here, is something going out there. Here, for example. All these little bits and pieces. Suddenly you can have a bit of a say as to where you want to put them. Draw out the little details, you scratch out these little details. Bits of grass and stuff as well. You can just do this thing. I want to emphasize maybe a bit more grass and larger bits here, because we're in the foreground. Leaves and stuff here. Twigs, really. It's difficult. You want to keep it quite spontaneous as well, so that it's not all the same, everything going in the same direction here in the background, look, we can put in a few as well. It does take off a bit of that paper as well. A tiny bit of that paper, remove a bit of it. Look at that. We can get in some really interesting marks in here, even for the trees. Look up the top there, You can scratch off a bit of paint and that's what water colors is about. You're creating different layers, revealing previous layers. This is just a way of creating some different marks on the page. I'll give this a dry and we're finished.