Transcripts
1. MOUNTAIN SUNRISE INTRODUCTION: Hello, and a very warm welcome to my online watercolor class. My name's Cary McKenzie. I'm a professional
artist, author, and art tutor, living in the beautiful countryside
of Yorkshire. This is a great class. It's jam packed with
watercolor techniques, tips, and tricks, and I know you're going to find it
really inspiring. It's suitable for all levels. If you're a beginner and going to guide you every
step of the way, or if you're an
experienced artist looking for something
a bit different. And I've included a
copy of the drawing in the project resources section so that you can download
it and trace it, and then not worry
about the drawing because this is a
painting class. In all my classes, you
can follow along in real time as I share the techniques that I use in
my own professional work. I've got a lot of classes now on Skillshare in a range
of beautiful subjects, where I show you how to
keep your work loose, fresh, and spontaneous
without overfussing. And you'll gain the
confidence and knowledge to incorporate everything you
learn into your own artwork. Best of all, at the
end of this class, you'll have your own beautiful painting to be very proud of. I've discovered lots of tips and techniques and shortcuts
over the years. So just as in my in person, face to face classes, I'll be sharing these
so that you, too, can get the same
benefits and joy from painting that
have helped me. I'm a big believer in
learning by doing. So rather than reading
lots of written theory, you'll be painting
right alongside me in my studio as I demonstrate each process step by
step and make your learning a happy smiling
and practical experience. Or if you prefer, you can watch the video the
whole way through, then have a go at the
painting afterwards, and of course, you can pause
and rewind it at any time. You can see examples of
my work on my website. My style leans towards
impressionistic and contemporary rather
than photorealistic. I like to explore loose approaches that
bring out the color, light, and essence
of my subjects. I'm delighted to be able to
share with you my experience, tips and techniques that I've learned along the way
in my own art journey. Importantly, the
most valuable asset is your own time,
patience, and enthusiasm. There's no such thing as right, wrong or failure in art. It's all about
learning and grow, learning what worked well, practicing what you
need to improve on, and moving forward
with each step. Please don't worry if your painting doesn't
look exactly like mine. Larry never worried
whether he looked like an goths or Picasso's. We all have our own unique style just like our fingerprint. And with that understanding, it's time to get on
with the painting.
2. Materials, Composition and Drawing. Paint sky and lake reflections. Wet-on-wet technique. : Hello, and a very warm welcome to my online watercolor class. Today we're going to be painting this beautiful mountain sunrise. I'm going to be sharing lots of my favorite
techniques with you, such as how to paint a
lovely soft sky with a sunrise just hitting the
tops of those mountains. And the reflections
in the lake along with some lovely texture
in the foreground. I know you're going to love
creating this painting, and I'm sure it
will put a really big smile on your face, too. And you can either
watch the whole video through and have a good at
the painting afterwards, or you can faint right alongside me as I guide you through it. Now regarding my materials, these are the ones
that I'm using. But if you have
different colours, then don't be afraid to use the ones that
you've already got. Most of my paints are either transparent or semi transparent, which will allow the white of
the paper to shine through. And this is what gives watercolor
its wonderful radiance. Tend to keep opaque
paints for when I want to cover up the underlying
paper or layer of paint. Now you can see that I've
kept the drawing very simple, minimal detail so
that we get a nice, loose free flow painting. And I've included a
copy of the drawing in the project resources section so that you can download
it and trace it, and then not worry
about the drawing because this is a
painting class. To begin with, we're going
to paint a lovely soft sky, and to make sure
that it is soft, we're using the wet
on wet technique, which is simply putting
wet paint onto wet paper. And that gives us nice
soft diffused edges. To pre wet the sky, you want to use
the biggest brush that you've got a nice soft one, and obviously some clean water. As you can see,
I've already mixed my colors in my
palette before wetting the sky because if I start
mixing them after I've wet it, the sky will start to dry, and then when I
put the paint on, it won't be wet
enough and we will get unwanted hard edges. So do mix your paints first. I've got my ultramarine, my handsome yellow light, some quinacadon gold, purple
orange, and a little pink. I hope you notice that as
well as wetting the sky, I also wet the dip in the mountains in the center because I want the yellow that I put on that I'm
putting on now to fall across the top of those mountains where the
sun is catching them. Having said that, I do
want that central dip in the sky to remain
unpainted or very, very light because I
want that to be where the light is brightest so that it will draw
the viewer's eye in. Now, I've just taken
that light yellow down across the mountains where the
sunlight is catching them. I'm switching to the quincaronGld to get
a little bit more of a golden glow going on and touching that in
just here and there. I don't want it to
overpower the light yellow. And I hope you can see
from my painting how wet my sky still is because I'm
not getting any hard edges. Those two colors are just softly blending and
diffusing into each other. And then to warm it
up a little bit more, I'm touching in a little
bit of transparent orange. I think it might be a
bit hard to tell from the video just how watery
my paints actually are. They're about the
consistency of tea or milk. We're going to have
a lot of dark color in the mountains later on, and also in the foreground
and the bushes and trees. So we do need the sky
to stay light and airy, which is how skies
usually are anyway, in order to provide some
contrast in the painting. And of course, watercolor
does tend to dry about 20% lighter than
when you put it on. So the colors that I'm
putting on now will appear much lighter in a later stage when
they're fully dry. I'm now adding the
ultramarine and working quickly because I
don't want this sky to dry. As soon as your sky dries, you really do have
to stop working, leave it to dry completely, and then re wet it
and start again. You can add more paint later on. But if you keep overworking
it when it's drying, you will get a lot
of hard lines and an overworked muddy looking sky. Important things to note about what I'm doing when
I'm putting the blue on. I'm not filling in every single
centimeter of the paper. I'm leaving little gaps where
the white clouds might be. And I'm also putting the blue on in the gaps where
the yellow paint isn't. Because, of course, if
we mix blue and yellow, we're going to get green. And again, to add a bit of
variety to the blue color. I'm touching in a little bit
of purple, not too much. Again, I don't want to
overpower the painting, but a little touches here
and there are all you need. Of course, if you're
not very familiar with painting skies and you're a bit nervous about
all these colors, well, just go with
the ultramarine. You don't have to put all
these different colors in. I'm just showing you the possibilities of
what you can do. To emphasize that central area of light where the
sun is shining, darkening the area of sky
at that right hand side. Now, as you can see, one of
the reasons that I don't take my paper down is because I like to be able to pick it
up and move it about, give it a good shake, and that encourages the colors
that I've just put on to run a bit further
and blend more easily. If you do feel you've put
a bit too much color on, you can simply use a
clean damp brush to lift some of it off and even
dab it with paper towel. I am feeling I've not really got enough contrast in the sky, so I am going to add a little bit more color
to some of those areas, using the same colors
that I've already used. I'm dropping in a
little bit of purple. I'm going to drop in a
little bit more ultramarine, a little bit more indigo. But do assess what
your own sky looks like and put in more
colour if it needs it. If it doesn't, then
leave it alone. And every time that I am touching the paper with my
brush with paint on it, I'm making a mental judgment of, is it still wet enough
for me to do this? Are the colors still blending
and diffusing softly? I think my sky is looking
a little bit one sided, so I'm going to add a
little bit more color over on the left hand side, just touching in a little bit of my transparent orange to balance the heavy color that
I've got over on the right. And I think perhaps
I'll also balance it with a little bit
of my purple color. But as you can see, I'm
still keeping that dip between the mountains in the center very
light and bright. In painting the sky for
six or 7 minutes now, which is plenty of time, I'm in danger of fiddling
and overworking it. So it's time to turn my
attention to the lake, and that involves understanding how to paint
reflections on water. There are many different ways that you can paint reflections in water because it may vary
from a fast rushing stream, a calm lake, a raging storm, or just a shallow puddle. In addition to the
objects surrounding it, water will also reflect
the sky color above it, clouds or sunsets and
any objects below it, minerals, silt up, pebbles and microscopic life
on the water bed. Unlike a shadow,
a reflection will always appear directly
beneath what is above it. Reflections are not actually in the water, but on its surface. So the reflection wiggles following the movement
of the water. In general, you first pre wit the water surface with horizontal strokes to
create a smooth base. And then using colors that are softened and a little
bit more diluted, dulled than what is in
the reflected object, paint vertical and
horizontal brush strokes to mirror the shapes
in the water. For added realism,
leave small gaps or use a dry brush to
create shimmer effects or subtle highlights
and then gently lay horizontal strokes of
lighter or darker shades, where you need to
represent ripples or movement and light on
the water's surface. I'm going to paint
the reflections in the water in separate stages because I want to
keep the colors, particularly for the
sky nice and bright. So at this point, I'm only
going to be reflecting the sky color above it and
what might be lurking below. To begin with, I've
pre wet the whole of the lake area with clean
water and a clean brush. Then while the paper
is still very wet, I'm going in with
my lightest color just as I did with the sky, the handsome yellow light, and then adding in
some little touches of the quinacadon gold. Now, water always is horizontal, so you want to make sure that your strokes also
are horizontal. Now, in the same
way that we left that central dip in the
sky area unpainted, I want to do the same
thing with the lake, so I want the central area
where it would be reflecting that light in the sky to
also be lighting the water. I'm adding some ultramarine
now in the far left. Again, my colors are
still quite watery. We are painting water after all, so you don't want thick, pasty, chalky
colors in the lake. I'm trying to mirror some
of the color in the sky, not absolutely, because
as I said earlier, there might be other colors
underneath the water. But to a large extent, we are doing a reverse image of the colors that
are in the sky. I'm adding little
touches of purple now. Although there isn't much
purple on this side of the sky, there will also be
some reflections from the mountains that we're
going to be putting in later. So although the mountain color isn't apparent right
at this moment, I am aware of it, and
I've planned for that. I'm moving back over to
the right side of the lake and adding my blue and purple just underneath
this little bank because, again, there will
be reflections from the mountains on this side
of the composition as well. And in the middle
part of the painting, I'm put in some quinracdon gold, which will reflect
what's going on in that central area
of the sky above. Leave it all to dry, and I'll do some more work on
the reflections later.
3. Paint the mountains. Wet-on-dry technique. Salt technique. Use colour and tone to create texture in : And to paint the mountains, I'm using my ultramarine blue, some purple, and some indigo. I'm painting this time
wet paint on dry paper, so wet on dry. Painting wet on dry does
give you more control over the paint where it will go and also give you
hard crisper edges. I'm still using
quite a big brush because these mountains
are in the distance, so I don't want to be having
too much detail in them. As you can see, I'm running
some purple into the blue. Now, I've gone then from
wet on dry technique to wet on wet because the wet purple
is going onto the wet blue, and I'm still getting
some nice soft blends between those two colors. But we still want to obtain some interest in
these distant shapes, so you can just use some
clean water to lighten any areas or use your paper towel to lift some
paint off here and there. You can add little bits
of thicker color in in places so that that stands out more and looks like
ridges in the mountains. But importantly, we do want
to keep that central area of the mountains still much paler than it is at the
left hand side, because that's
where the light is catching them as the
sun rises above. Switched over to
my indigo paint, and I'm touching that in now along the bottom
of the mountain. Now it's spreading
quite nicely upwards. We've got a nice
feathery appearance, so it could either be shadow, it could be bushes, but
it's giving a nice sort of variation to the harder crisper lines
that we've got elsewhere. As the paint is starting to dry, I can drop a little bit more of that darker color
further up the mountain, again, to create some
kind of ridge effects. I let's move over now to paint the mountain on the right hand side in
a very similar way. You don't want them
to be identical, so you don't want them
completely symmetrical. That would look boring. So we want some variety
and some similarities. A nice balance.
Having said that, this mountain on
the right hand side is catching more
of the sunlight, so I'm not going to
paint it quite as dark or as strong as the
one that I've just done. I'm also using a
clean damp brush to just soften the color, lighten the tone as the mountain moves
towards the sunrise. I'm going to add a little bit of purple to just vary
that blue appearance. And then I'll use my dark
indigo color again to add some dark tone to the
very far right of the mountain and just a few
ridges again here and there. So now I can move on to
the central mountains. And I'm starting with
a very pale purple, painting some streaks in, as you can see, I'm
painting wet on dry again, but just softening some of
those colors in with my brush. Also breaking up the line
of the top of the mountain, so it's not one
continuous long line. It's got some little
indents in it. And, of course, I'm
still very mindful about this particular
mountain is, again, much nearer to the sunlight, and so at that far
right hand side of it does not want to be dark. On the other hand, the left
hand side of it is away from the sunlight and it's also behind the mountain that
we painted earlier, which is in front, so there will be the shadow from
that mountain. This left hand side of this mountain is again
going to be quite dark. I've also added a little bit
of brown into my indigo, which will make it darker still and just vary the
color a little bit. And I'm also using this dark
color to define the indents, the ridges on the top
of this mountain. And then we've just got to
paint the smallest mountain, the one that's furthest away. Again, using the same technique, keeping it dark this time
on the right hand side, because that's the
side that's furthest away from the sunlight. Using my ultramarine, using
a little bit of purple. But there's a big difference here on this mountain
because it's the one that's nearest to where the sun is coming up behind it. So there'll be very little paint going on on this left hand side. I want it to really look
as though this mountain is catching a lot of light
from that rising sun. Okay in order to differentiate between the mountain and
the background sun color, I'm just glazing over with
a little bit of orange. Glaze is simply a
very watery paint, very light that you just
glaze over with a soft brush, not disturbing the
color underneath it. You use a glaze to
change the color. So if you glazed some
blue over some yellow, you'd get a green or you can use glazing to
intensify the color. So if you put the
same color over, you'll get a stronger look. I'm also glazing
over a little bit of orange over the other
mountain in the middle of the painting because that too will just be catching
that sunlight and it will be warming it up. Finally, just as the
paint is starting to dry, I'm going to sprinkle over a little bit of household salt. The salt technique is a great effect for
creating texture. It sort of soaks up the paint and gives you these really
interesting patterns. Yeah. Paint the land, we're going to use the
wet on dry technique. And that simply is wet
paint on dry paper. It does allow more control, stronger color, and crisp
ptages where the paint ends. But do remember the
paint will only go where you place your brush. The colors that I'll be
using to paint the land with are my hands yellow medium. Any mid yellow again, we'll do some transparent orange might just touch a little bit
of that in here and there, burnt sienna and a little
bit of permanent rose where I want to warm the land where the
sun is catching it. And I'll be using the
purple that we used in the sky to create
some shadow areas. As you can see, I'm laying on these different
colors over the land, letting them mingle here
and there and blend, but not too much because I don't want to create
the dreaded mud. You don't need to worry about going over those
rows of trees and bushes that we've drawn in because they're going to be
a lot darker than the land, and we want some of that land to show through the gaps
in the trees as well. So don't be afraid to
paint right over them. The important thing to
remember here is to vary the tone so that we've
got some light areas, some dark areas, and
vary the colors. You don't want one flat color. The land the Earth is made
up of many different colors. So we want to try
and emulate that. If you find that you're not getting enough tonal variation, then simply use a
clean damp brush and just lift some of the
paint off here and there, wiping it off onto your
paper towel, as well. And in fact, you could even
use the paper towel itself to lift a bit of paint off
if it's getting too heavy. Thinking about where the light is coming from in
the composition, I will be using darker paint at the far right and far
left of the paper, and I'll be using
my lighter colors, my yellow and orange
and my pink in that middle area where the
sunlight is coming through. I'll let you watch the video now as I paint all of the land, and I will add some
little prompts here and there of anything that you
need to be mindful of. Oh.
4. Paint the trees, bushes and banks of the lake. Mixing a dark colour : We're going to paint the rows
of trees and bushes now. Because they're in the distance, we don't need to
worry about painting lots of leaves and
trunks and branches. We're just going to use
some abstract random shape. They are dark in color
because they're almost silhouetted against the Blet
sunrise in the distance. Don't want to use black on its own
straight out of the tube because that does produce a rather flat,
uninteresting color. So I've mixed a dark
using ultramarine, burnt umber, and I have
added a little bit of Mars black to
darken that further. One of the reasons that I use
Mars black as supposed to other blacks is because Mars black is a
granulating color, and that means it naturally has a mottled kind
of dimpled effect, which rather resembles foliage. So very useful when
painting a landscape. You can see here
that I've painted in the first row of dark trees and bushes on the
left hand side, and I've used the
tip of my brush, the little point to push up some random shapes
along the top. If you look at a row of
bushes and trees in nature, you'll see that some of them
are smaller than others, some are larger, and we want to try and replicate
that in our painting. So really, this is
one of the occasions when a rather unsteady hand can actually play a good part. As I move towards the
center of the painting, these little trees and
bushes here will be a little bit lighter
than those that are on the far left because they haven't got as much mountain
overshadowing them, and therefore they will
be a little bit lighter. So I'm just dabbing
off a little bit of the paint with my paper towel. And then while I've got the
dark paint on my brush, I'm just going to
add a few dark marks in the land behind
the row of trees, just to add a little
bit more depth and interest on that landscape. But because I don't
want too much detail to be shown with hard edges, I'm using a clean damp
brush to just soften those lines in
those darker lines into the underlying paint. There doesn't seem to
be enough separation between that distant
mountain and the landscape. So I'm going to add some trees just along the
bottom of the mountain. But I don't want them
to be as as crisp and defined as the row of trees
that I've just put in. So I'm pre wetting
that mountain, starting from the
bottom edge rising up about three quarters
of the height of it. And then when I drop
my dark coloring, it will softly diffuse
up into that wet wash, little bit like when
we painted the sky, we're getting much softer edges and much more
diffused appearance. The and because I've
pre wet the area first, that will also dilute the color, so it won't be as strong as the row of trees that we've
just painted beforehand, which is just as it should
be because colors do lessen and fade as they move
further into the distance. And in fact, you can
see that as I've moved into the central area
of the painting, I've switched to
using some brown. So some burnt here and a
little bit of burnt umber, making it much lighter
than that dark blue, black brown color that
I've used previously. And then while that brown
color is still wet, I'm just dropping in
a little touch of purply brown at the
bottom to bed them in. And then, similar to the dark linear marks that I added to the landscape earlier. I'm also going to add some dark crevices
into this mountain, just to add more
shade and interest to it because it is further
away from the sun, so you will see more
shadows and more darks. But whatever lines
that I put down, I'm going to do the
same thing that I did before in terms of blending those lines into the
underlying color so that they don't appear
too crisp and harsh. We can move over to
the right hand side now and use pretty much the same procedure
to add the rows of trees and bushes on this
side of the painting, marking them in with
some quite pale color, and then I'm going to
drop in my darker color along the bottom and let
that color spread upwards. Now, this row of trees
that I'm painting now is a little bit further away than that first row of
trees that we painted. So I am painting them a
little bit smaller this time. And because they are small, instead of using the point of my brush to flick up some
of the paint along the top, I'm going to use
an embossing tool. That's just got a
little tiny steel tip, so much smaller
than the brush tip. But you could just as easily use a pencil or even an unwound
paper clip. Uh hmm. And they're moving a bit
further forward now. I've got another
little row of trees, but I'm also going to
just darken the land on this right hand side so that it's more of a vignette
effect around the edges. And that will also help to focus the viewer's eye in towards the center of the painting
where the light is. I'm just tidying up the edge of the lake along
that back there. It was a little bit
untidy and askew, but I've just used some
periana to do that because, again, it is catching
that lovely sunrise. The land around the
lake is kind of turning over slightly
dipping down into the water, so it will be dark in
shadow here as well. I'm using my dark color going around the
edge of the lake. Again, not in an absolutely
dead straight line, so a little bit of variety and flicking up a few little
grasses on that point of it. Also going to darken the
right hand side to vignette, as I did previously on the left. And I'm going to add a
few little dark shadows in this area of land to
add a bit more interest. It's all looking a little
bit of a sameness. And when I've done all
that, I'm going to repeat the same procedure
over on the right hand side. It's just a small piece
of land over there, but it still needs some bushes, trees, and a few dark grasses. I think you've probably
got the hang of it now, so I'll let you watch along
as I finish this section. Can you see how much difference painting these dark trees and bushes have made
to the painting? That sunrise is
really glowing now. We've got some really
good light in it, and that's because adding
the dark tones has given us that real zing internal
values in contrast. I'll be adding
some more contrast to the immediate foreground. But before that, I want
to turn my attention to the reflections and
the rocks in the lake. So let's get on with that next. Y.
5. Paint reflections in water. Glazing technique. Add texture and grasses to foreground.: O Now that I've painted the land areas, I can consider where to position the reflections that are
in the water below them. Remember when we looked at the information sheet
on reflections earlier, that the reflections are always directly beneath
whatever is above. They're a bit like
a mirror image. If you held a mirror directly underneath the object above
what would be shown below, except it's a little
bit more like frosted glass rather
than clear glass. So in this instance, I've started with the
very dark banks of the land that is
surrounding the lake. So I've started with the brown blue black color that
we used to paint the banks with and edge that around the left
hand side of the land. And you might have already
noticed that I've left a very thin sliver of unpainted paper between the
land and its reflection. That just helps to separate where one starts and
the other begins. But I don't want the reflection to be as dark as
the color above it, so I'm using a clean
damp brush and the blending and softening
technique to just blend and soften
that dark color into the underlying wash. And I'm using the points of my brush to mimic those grasses that
are also immediately above, just pulling a few little
strokes down vertically. When you're working
like this wetting wet, sometimes the color dissipates and dilutes a little too much. So you can always go back in and touch in a little bit more
dark color where needed. And that's what I'm doing
now at this far left side. I'm using a little bit
of artistic license by probably darkening this
far left a little bit more than would be in
reality because I want to continue this vignette
effect with the dark paint, dark colours, dark tones around the out edges
of the painting so that it draws the
viewer's eye into that central light sunlit area. I'm using the same
dark color for the rocks that are in the
water as I did for the banks. Now, I don't need to put a
lot of detail into these. They are quite small, so just little splodges
of that dark blue brown, black colour, little bit
of purple here and there. And, of course, I
will also need to add their reflections in the
water using the same colours. And now I've moved over to the right hand side
of the painting. So again, painting
the reflections just as I did on the left, underneath the land areas. Because the light is
coming in at a bit of an angle into that
right hand side, I won't need the colors in the reflections to be quite as dark as they
are on the right. I'm hopping back over to the
left hand side again because it is further away from that diagonal sunlight
going towards the right. So I think I
actually need to add a little bit more reflection and darker color on
this left hand side, which will be coming from the distant land and
the distant mountains. Tducing some of the colors
that I use for those areas, the ultramarine and the purple. And finally, I'm hopping back over to the right
hand side again, adding a little bit of
darker reflection to that immediate
right side and just below the land areas
around the lake here. Because whenever I'm painting one specific area
of the composition, I've still got an eye out
on what I've just painted or what actually I might have missed that needs a little
bit more attention. So hopping back and forth is quite a natural thing for me. And it is quite often the case that when you change the tone in one area of a painting or if you introduce a new
color into an area, then you need to counterbalance
it somewhere else. Otherwise, it throws the balance of the whole composition out. It's where you need to
stand back and assess your own painting to make any little adjustments
that might be needed. It's time to turn
our attention to this large strip of land in
the immediate foreground. I've already brushed off any residue salt that
I put on earlier, and I'm quite pleased with the resulting
texture that I've got. So I don't want to lose that in the next layer of painting. To begin with, I'm using a very small pointed
brush and flicking up some of that dark
paint in grass shapes. It will be silhouetted against this strong sunlight that's
coming in from the distance. But you do want to
make them very random. You don't want them
to look like a fence or a row of soldiers
going across the top, so leave little gaps in between
the different clumps of grasses and vary the length
and direction of them. And also vary the tone, so make some of the grasses
a little bit more grayer, some a little bit darker. Of course, you need to use the blending and
softening technique, use a clean damp brush to just soften and blend them in
to the underlying color. As you can see now, I'm also using some burnt sienna
and some burnt umber and just dragging out some linear organic lines
around the grasses. And carrying on with
the vignette effect around the outer edges
of the painting, I'm adding some dark colour
to this far right hand side. I'm not trying to paint
anything realistic. I'm dragging the paint
out in abstract shapes, just trying to create the
impression of more foliage, perhaps a few rocks
here and there. If you haven't painted grasses and foliage in this way before, it might be worthwhile
just trying it out first on a bit of
practice paper. It might appear like a very
simple little technique to paint these
little grass shapes, but there is always a danger that they end
up looking like a row of blunt matchsticks if you don't get this flicking
action just right. And notice how I'm blending
them in at the base to that underlying color so that they don't look as though
they've just been stuck on. I'm only putting a few little grasses along the top edge of the foreground because
I don't want them to act as a barrier to
what's going on behind. And then moving over
onto the left hand side, the same again, adding little
clumps of grass shapes, blending them in to
the underlying colors, and making this area at the left darker again to achieve that vignette
effect all around. And I'm continuing
to use some of the other colors, some Bersiena, burnt umber, as well as the dark black brown color in order to vary the
color and the tone. And painting in
some linear strokes of colour to join some
of these shapes up. I don't want to look as
though they are just plunked around like
pieces on a chessboard. So to give some harmony and synchronicity
to the painting, we need these little
furrows in the land, little dips that join
up these grass shapes. Notice that they are much paler, lighter in tone than
the actual grasses. So, in effect, they're doing a good little linking up job without being too
obvious about it. I have slightly darkened the very bottom edge of the
painting so that the tone is a little bit darker
on the strip of foreground at the back of
it than it is at the front. These little clumps of grasses
and the furrows that we're painting now in the
foreground area are backlet. That is to say, the light
is coming in front of them, and so there will be shadows
falling behind them. I've taken a moment to stand back and have a good look
at the overall impression. And I feel that this mountain on the left hand side is too
light in tone on its far left. So I'm going to glaze
over a little purple and blue just to darken that
tone at that far left. Basin is simply applying
multiple layers of thin, transparent washers of
paint on top of each other, allowing the layer
below to shine through. You can apply glazers to the whole of a painting
or just a small portion. The trick is to use soft
gentle strokes so you don't disturb the underlying layers of paint with too much
brush pressure. I'm happier now with
how the painting looks, and I'm going to
call it finished. I do hope you've enjoyed this painting and that
you've learned some tips and techniques along the
way that you can incorporate into
your own paintings. And why not pop it into
a mount and a frame, and you'll be amazed how good
it looks when you do that? I'd really love to see your
own finished painting, which you can upload to
the your project section. And if you could
just take a moment to leave me a short review, that also would be really great. In the meantime, thank
you for joining me, and I look forward to seeing you next time. Happy painting.
6. MOUNTAIN SUNRISE FINAL THOUGHTS: Well done on completing the
class and also the painting, if you've been painting
alongside of me. We've covered quite a few
different techniques. We've simplified the drawing
from the reference photo. We use the wet on dry technique, putting wet paint on dry paper, used the wet on wet technique, putting wet paint on wet paper. Use tonal values
and salt to create the cracks and crevices and
the texture in the mountains. We learned how to
add reflections from surrounding
subjects to the water, and we used the glazing
technique to add a little bit more
richness and depth of color to the overall
look of the painting. I would really love to see
your own finished painting, which you can upload to
your project section. And if you could
just take a moment to leave me a short review, that also would be really great. I do hope you have
enjoyed this video, and it's encouraged you to have a look at some of
my other classes. I've got lots of lovely
subjects loaded with more tips and techniques to help you with your own
exciting art journey. In the meantime, thank
you for joining me, and I look forward
to seeing you next time Happy painting. A
Carrie McKenzie, creating painted visions
