Paint 5 Different Winter Landscapes using Watercolours.

1. Welcome to the Class!: Hello everyone. Welcome to the first class of 2022. My name is Bio. I'm an artist, art educator, and an entrepreneur based in Bahrain, originally from India. I go by the name, the simplest [inaudible] on Instagram, where I share my love for painting every day. You can find more about me in my About Me section on Skillshare as well. I hope you guys had an amazing new years, and wishing you guys that you're filled with positivity and hoping you achieve all the dreams and goals that you've set for yourself this year. Since it's still winter, which means we can put on our large hoodies and sweaters, sip on some hot coffee, get comfy and paint. This January I'm bringing you a class where you can paint these five beautiful winter landscapes with me. We are going to be focusing on the medium watercolors for this class, and I've designed this class in a way that you can paint one class project each day and slowly build your habit of painting with watercolors every day. I will be uploading all the five class projects together so that you can start this five-day painting journey according to your time availability. I will be walking you through the art supplies that you need for painting with watercolors. We'll talk about the right paper, paints, brushes, and every other thing that we'll need for this class. We'll then brush up on some of the watercolor techniques that we need to know for painting our class projects. Then using a combination of these watercolor techniques, we'll paint five beautiful landscapes. Painting snow can be a little challenging, and that is why I have chosen these five beautiful yet simple landscapes where we can also learn how to add the lights and shadows to your snow. Each of these class projects are super unique in their own beautiful way. If you are someone who loves to explore different seasons, then join me on this magical journey where we explore the season of winter together. Gather all your supplies, get cozied up and let's begin. 2. Materials you'll need: [MUSIC] Let us talk about the art supplies that we need. For the paper, I'm using this 300 GSM, 100 percent cotton paper by Arches. I absolutely love using and suggest using a 300 GSM, 100 percent cotton paper because it can hold on a really large amount of water. It makes a painting turn out really beautiful and it works for most of our techniques that we'll need for the class. I've taken my seven by 10-inch paper and cut it into two, and this is going to be my preferred size for each class project. You can take any size that you like to paint the class project on. For the brushes, I'm going to be using my silver black velvet CTs brushes. I'm going to use the size 2, 4, 8, and 12. I absolutely love these brushes when it comes to painting with watercolors, because it can come up to a really fine tip and it also holds a large amount of water. But you can use any size of brushes that you have available with you. If you don't have a brush that comes to a really fine tip, you can use a size double zero or zero brushes to get really fine strokes for our paintings. Next, we're going to talk about the paints. I have made this custom palette with a mix of my white nights and [inaudible] paints. But you can use any brand of watercolors that are available with you. I will talk about the color palette of each painting right before the class projects. You can go to each class project to know the exact colors that I will be using. Next, we need two jars of water. Using two jars of water is really important when it comes to painting with watercolors, as one is going to be for your clean water supply, and the other is going to be to rinse your brushes. Next, we need masking fluid, especially for the snowy pine cones class project, you will need to have masking fluid. If you don't have masking fluid, don't worry, you can just use white gouache to go ahead and add the snow to your pine cones. When you're going to apply your masking fluid, makes sure that you apply it using an old spoiled brush that you don't need anymore, as masking fluid ruins your brushes. Next, we need to choose a rag to wipe our brushes when it has excess water or just to clean them. Make sure that you have a cloth rag with you. Next, do keep pencil, eraser, and scale with you as we'll be doing really light sketching. Next, you need to have a tube of white gouache. This really helps in adding some of the snow on the far-off mountains and trees and also to add highlights to our paintings. Do keep a sturdy board with you. I will be taping down my paper on this board so that it lays down flat and it does not buckle. Lastly, we need to have masking tape with us. I'm going to be using this masking tape to tape down my paper flat on the board. That is it. These are all the art supplies that you need to start with our class project. Let us move on and learn the basic watercolor techniques in the next lesson. [MUSIC] 3. Warm up Watercolour Techniques: Before we move on to learning and painting each of our class projects, I thought I'll brush you on some of the watercolor techniques that you need to know. These techniques are going to help you in the future as well. The first technique that we're going to talk about is the wet on wet technique. The first word is for your wet brush and the second word is for the paper. I'm going to load my brush with some water and evenly apply it on my paper. Next, I'm going to load my brush with some paint and I'm going to mix a thin layer of my paint so there's going to be a bit of water to it as well. When I tap my brush on the wet paper, as you can see it really just spreads around. It blends and it tries to spread with the water that is already on the paper. Next, I have taken paint directly from the pan without adding a lot of water, and when I tap it on the paper, it spreads but not as much. You can control the way your paints blend or the way they are supposed to spread by working on the quantity of water that you add to it. The next technique that we need to know is the wet on dry. The wet is for the paint, so you have water and hence it is a wet paint. When you apply this paint on a dry surface, which is your paper, that is your wet and dry method. In the wet on dry method, the blending is a lot more controlled, which means your paint will stay around the edges like you'll have sharp edges without blending into the background. So if you have no water, your paint will be more controlled and you'll have proper shapes and edges. This is a more controlled way of using this technique where you don't want your paint to just go crazy but you want them to be controlled. The next technique that we're going to talk about is the wet on wet blending. This is a technique that we mostly use for our skies when we want our blends to be released seamless and all put together. That is when we use the wet on wet blending, which means we're going to use the same wet on wet technique. But instead, we move in this left and right motion or you can say up and down in this that I'm doing. You go in that one motion and you try and blend two colors together. In wet on wet, the blending is a lot seamless because your paint has more time to blend before getting settled on or dried onto your paper. That is why when your paint is wet and your paper is wet beforehand, it gives you a good amount of time to work on your sky and try and get it in a really well blended together without making it look really sharp. So if it was a wet on dry, you'll have more sharp edges. But with wet on wet, the blending is more seamless. Like you can see, I've blended the orange and the pink together seamlessly for it to look like one-graded wash. [MUSIC] Now what I want to talk to you guys about is the lifting technique. We use this lifting technique to show the whites of the paper after we have applied a layer of paint. This is a combination of your wet on wet technique and using your dry surface to lift off the paint from this paper. First, we're applying a layer of water and adding a layer of paint over it evenly. You can have it however you like. I'm just evenly spreading the paint on the surface. While the paper is still wet, I'm going to take some tissues, all your brush that is completely dried off so you should have no paint on it. The first thing that I want to show you is with the tissues. You're going to take your dried tissue and start lifting off the paint. Now there are a few factors that depend on high ability to show the light of the paper. That depends on if your color is staining or not. So if you use staining colors, it will stain your paper because when you try to lift off the paint, you won't get a complete white color. But if you are using non-staining colors, you'll be able to show the complete white of the paper. You can also use masking tape to have the whites of the paper, but this method is really natural in my opinion. I like using it for the sun and clouds. The next thing that I want to talk to you about is very basic. It's just different brushstrokes. When we make trees or little branches, pine trees, any absolute element, we need to have a good control over our brush. When we have a good control over our brush, we're able to get really smooth strokes without having to stress over it. Take your brush, take a different sized brushes and make some strokes and see that when you apply more pressure on your brush what kind of strokes you're able to get, if you apply like medium pressure on your brush what type of strokes you're able to get, and when you are really light with it, what is the thinnest stroke that you can get. This will give you an idea on how much pressure you're supposed to apply and how much pressure you're supposed to release to transition from a thick stroke to a thin stroke, and this place is really important role while painting trees and branches because we don't want to move from one brush to another. It's really uncomfortable. We try our best to use one single brush to try and complete one element or maybe like two brushes. But once you have little control over your brush, you're able to do it with a lot of ease. First, especially making different strokes, you need to have a good control over your brush and also grip over your brush. When you're making trees or branches or leaves, whatever, you need to hold your brush like you'd hold a pencils so you have a good grip on your brush. At least this is what really works for me. Then I try to hold it, almost at like 80 to 90 degrees to the paper so that I have a lot more control over it. Then I've practiced the pressure, putting pressure, releasing pressure, things a lot of times. I get to see that, okay, I'm now supposed to apply this amount of pressure to have big strokes with this brush. I'm supposed to apply a lot lesser pressure to get really thin strokes, and that will completely change your game. It will completely change the way you use your brushes and how your painting turns out. So just do practice these brush strokes a couple of times. I'm not doing anything extraordinary, I'm just trying to make some trees, and branches, and leaves, a pine tree. Whatever you'd like, just play around with your brush so that you get a good grip before we start painting on class projects. [MUSIC] This is it you guys. These are all the techniques that you need to know before we move on to painting our class projects. You have the wet on wet, wet on dry, wet on wet blending. You learned lifting technique and a few brush strokes that you need to know. For our class projects, we will be using a combination of these different techniques. Let us move on to the first class project. 4. Project 1: Winter Branches: Let us start with our first class project. This is a beautiful sunset painting of some branches. I've named this branches of winter. The colors that you need for this class is, cadmium yellow, golden deep, carmine, quinacridone violet, burnt sienna, burnt umber, sepia, Payne's gray and indigo. I've taped on my paper on all four sides, leaving a thicker border at the base for that polaroid look. This is the picture that we're taking inspiration from, so this is our reference picture. What I'm going to do now is I'm going to sketch out the horizon line and then some of the branches to get a clear idea of my painting. Using my scale, I'm going to divide my paper in two half, and just draw a line. This is going to be my horizon line that will separate the ground from the sky. Then I'm going to go ahead and sketch the main branches. Now, you don't have to do it exactly like your reference picture. You can just take the idea from how the branches look in your reference picture and then sketch something out. You don't have to sketch out your tinier branches because that is something that you will do once you are done with the background wash, and we are definitely going to wing it. We're not going to follow the exact branch structure. I'm just going to roughly sketch the branches and specially the main branches and not the tiny ones. Once I'm happy with my sketch, I'm going to take my flat brush. You can use your larger size round brusher as well and then just coat it with water. You want to spread water evenly in the sky portion of your painting. Now I'm going to use my size 12 round brush and load my brush with some cadmium yellow. But before I do that, I just want to show you the swatch of my cadmium yellow. You can use any warm yellows that you have with you. That is completely your choice. You're free to do that. Then you're just going to add a bit of water to make it nice and flowy, and just spread it near the horizon line. You're going to go in this left and right motion, because this is how your paints will seamlessly spread and they look even. Now, you know why we wet the paper first is for the wet-on-wet technique and that makes the sky blend really easy. Now, this is my golden deep color, just swatches my golden deep. I'm going to just load my brush and go in this left and right motion. This is just a free stroke, I'm not really thinking a lot and I'm just going with my brush here and there, left and right. Now, this is my carmine shape. Now, you can use any pink that you have with you. That's totally, again your choice and the colors that are available in your ballot. Then again load it and spread it on some little portion in the sky. You're going to add four colors to your sky. You have your yellow, orange, pink, and purple, let's go into simple terms. You're just going to spread and blend all these four colors together to have a nice and seamless blend in the sky. As you can see, I have just taken a really light wash. I haven't done a really thick wash, it's really light. While I'm happy with what colors go where I'm just going to take my tissue and make this circle shape, Roll it into this round shape, and lift off the paint from the paper. Like I showed you in the lifting technique, while the paper is still wet, you can lift the paint from the paper and then leave the white space of your paper and you can see through. That is a technique that we'll use for the sun. Now I'm going to go ahead and add some rich colors that is a lot more intensity to my painting. I'm going to add more pigments to my mix and then go ahead and do the same process. Add the yellow, the orange, the pink, and the purple, and then blend all these four colors together, so that they form a really nice and seamless blend. I don't really put a lot of pressure on myself when I'm blending my colors. I let the water do its magic, and I'll just go ahead and do this left and right strokes. But when I want to show a proper blend between them that shows the orange is not completely separate from the yellow or the pink, so I just go ahead and add these tinier left and right strokes from different directions and then stop midway, so that they look like little clouds in the sky. Not exactly clouds, but just that blend between these colors. You're just going to go ahead and make these little left and right strokes to stop midway just to blend all of these colors together. Don't really think so much. Enjoy the process, this is a really fun wet on wet technique. Most of the times in wet on wet techniques, your water does the magic. You just have to guide your paints to the direction you want them to go. I've changed the size of my brush. I took my size eight brush, and went ahead and added a little bit of pink blobs as well. Again, left and right, stopping midway making small strokes. Then I'm just going to slightly blend it because I felt it looks really pink compared to the rest of the sky. Just bring some orange down so that it doesn't look like a plain wash basically. I just want some darker contrast to my paintings in certain places and a lighter wash in other places. Once I'm happy with the blended my sky, I'm just going to go ahead and correct my sun. That is I'm just going to lift off a little bit of paint. We're going to move on to the next step, which is we're going to add our far off trees, the trees and the bushes at the distance, near the horizon line. For that, I'm going to load my brush with some burnt sienna. As you can see in the mix, there's not a lot of water in the mixture. There's a lot of pigment as compared to the water. Now, why that is important is because in wet on wet technique, if you add paint with more water content, it's going to spread out even more. But if you decrease the content of water in it and it's more thick with a lot more pigment, it's going to spread, but not as much. As you can see, it's not spreading as much as if my paint was really lose, it would spread a lot. Compared to that, it's spreading a lot less, so do add very little water to your mix and then go ahead and just touch it near the horizon line. Like I said, the wet-on-wet technique is going to do the magic for you, and your paint will seamlessly blend into the sky, creating this nice effect that these trees are really far off. You can't really see the details of each of these trees, but rather you can just see the shapes. Like there's this huge bush or there's a huge forest near the sun. Make sure that you're doing all of this while your paper is still wet. We don't want our people to dry in between our wet-on-wet techniques that we're doing. I'm just going to show you the swatches of my burnt umber and the burnt sienna because I forgot to show it earlier, but so this is your burnt umber and your burnt sienna color. Now we'll be using our burnt umber color to add more contrast to the area near the horizon or a forest near the horizon. As you know the area which is near or closer to the sun, it's going to have a lot more sunlight passing through it as compared to the ones in the left and the right side. For that again, I'm doing the same method, loading my brush with some burnt umber in a thicker consistency and I'm just going to tap it near the horizon line and the wet-on-wet technique is just going to do the magic for me. You'll just seamlessly blend into the sky. Once I'm happy with that, I'm just going to lift off some more color from the paper using my brush, just like in the lifting technique that I showed you. Just going to dry your brush completely and make these little strokes and then dry your brush again and then make the stroke again. This is just to show the rays of the sun. You can completely skip this step if you don't want to do it or if you're not confident enough. But this is how you can easily show that glare or the sun rays shining through something. Now using my size four brush, I'm going to go ahead and add the trees that you can see, the details of their the horizon. Now, the paper that I'm going to work on is completely dry. I've waited for this layer to completely dry, and that's when I'm going to go ahead and add the trees that you can see the details of which are much closer to the observer. You have to make sure that your paper is dry because you don't want it to spread into the background layer like we did before. This is your wet on dry technique. I'm just going to go ahead and make these little lines just to show trees and bushes near the horizon, it doesn't have to be perfect. I'm completely making random strokes, and dots, and lines like that. You're just going to tap and extend your brush forward and try making little branches as well. In some ways, you just tap little dots clustered together. There is no perfection. You can't really see each detail of your tree. You're just going to see some shapes that are not clearer to the observer's eyes. Yeah, we're just going to go ahead and do this, and I'm using the burnt umber color for this process again because they are from the left and right side. As they come closer to the observer, I'm going to change the color and I'm going to use the burnt sienna color. Like I said, because the sun rays pass through this because of which the colors appear a lot vibrant and lighter as compared to the left and the right side. Now when I come really close to the sun area, I'm going to add a little bit of orange to the burnt sienna, and using that deep brown-orange color, I'm going to go ahead and make three little bushes near the horizon. As you can see, it's like a glare of orange, burnt sienna, and burnt umber. Now let us go ahead and paint the ground using my flat brush. I'm going to apply an even coat of water, and then for the ground, I'm going to use a mix of my Payne's gray and my indigo color because I don't want it to be really gray. I want it to have a blue undertone to it, and that is why I'm adding a little bit of indigo to it. Now make sure that you're not using a lot of pigment here because we're going to be using a really light wash of this gray. We don't want the really deep gray color, and then I'm just going to make these random strokes again. It's from the left and the right side. Make sure that you're leaving this little empty space in the middle because that's where we'll be adding the reflection of the sun on my snow. Make these left and right strokes come from left, then come from right, and stop in the middle. Make it look a little zigzaggy like as you can see I've done. They're not like in the same size. What I'm trying to say is make them look a little uneven and indifferent size. Now I'm going to load my brush with some yellow and the orange color. Now again, I'm using a very light color. I'm not using very intensified color. It's really light, less pigmented, more water, and that's why you get a really nice and light wash. We don't want the reflection to be too harsh. Be a little careful when you're blending the blue and this yellow-orange mix, because if they mixed together, they're going to make green and we don't want that green muddy color. So be a little bit careful. That is why we start off with really light washes for the snow specifically so that even if you make any mistake here and then you can go ahead and fix it and blend it out. Now, once our gray was there, I'm just going to load my brush with some more gray paint and go ahead and add some more shadows to my snow. Now as you can see, I messed up on the left side. Like I said, you can correct it when you're using light washes. I'm just going to dry my brush and just lift the paint off so that it doesn't look really harsh and muddy. I'm quite happy with my snow and I'm going to just show you the color swatch of the gray that I used. It's just a mixture of your Payne's gray and indigo. If you don't have these colors, don't worry, you can just use your Prussian blue and a bit of black and blue to it just to get the dark indigo Payne's gray color. You can always experiment with your colors that you have. Now once my paper is completely dry, I'm going to go ahead and mark the branches that I sketched. Now if you don't or if you can't see the sketch, you can go ahead and sketch your branches again, and using your sepia color, you're going to go ahead and make these branches. But do be a little bit careful because we are going to play around with the lights over here. As the branch comes closer to the sun, like I said, light will pass more through that area so it will appear a lot lighter in color. It's going to be your brown branch, but when light is passed through it, it'll appear more orange. That's exactly what we're trying to depict. As I come closer to the sun, I added a little bit of my burnt umber on the color on my brush and then just made the branch. As I come even closer to the sun, I'm going to use my burnt sienna color and make these branches. You just have to be careful around this little circular area near your sun. Other than that, all the other areas can be made with your sepia color. The strokes, again, I asked you guys to practice your brush movement is because of this. I want you to have a good control over your brush. You should be able to make thicker strokes and thinner strokes with the same brush without having to change your brushes. That is why even having good brush plays an important role, but I'm just trying to get you guys to practice with one single brush that you have. All you have to do is press your brush a lot when you're making the thicker sections of your branch and be really light-handed when you're coming to your thinner strokes, and they're very random. Don't stress out about making your branches look perfect because they're not perfect, there is no perfect branch. You can really play around with this branch thing that we're going to do now. It's really fun, honestly. It's really fun and therapeutic. You're just going to go ahead and make these little strokes. One more thing when you are painting branches is that you should have a good grip on your brush. When you're making these branches, what really helps me is holding my brush like 90-degree to the paper as you can see or perpendicular to the paper and then having a good grip on it. You're holding like you're going to hold a pencil. This gives you a really nice grip. How you'd hold a pencil will exactly hold your brush like that. Just leave that little space. Obviously, don't hold it really close to the brush. Yeah, that really helps. Just keep that in mind and make these branches. Now we are going to go ahead and add those little leaf details that we saw in our reference picture. You can just extend your branches out and make these look clustered dots together. There's no perfection in this involved. There's no protection whatsoever. You're just going to extend your branch out and mainly the little dots. You can look at the reference picture by the way, I have attached it in the resources part of my class. You can download each of these reference pictures so that you can see it for yourself as well. Or you just wing it. If you're just having fun, then just go ahead and not think so much and just do it. All of these branches that I'm making, I'm just extending some tinier branches out of them, I'm this making these little dots and that is the whole thing. The only place that you'll have to be careful is around the sun. Don't forget to switch up between your burnt sienna and your orange color. Very closer to the sun, you'll have to add orange and then you can transition. This is basically our transition. Here when I'm using my sepia mixed with a little bit of burnt umber and I'm just going to make these dots. As I come closer to the sun, I'm going to add burnt sienna and orange and that is it. Go ahead, fill up your branches with as many tiny leaves that you'd like. Enjoy. I will be increasing the speed of my video for the next few minutes. At least until when I'm making these branches because the process is very repetitive. If you think I'm going fast, you can always decrease the speed. You can change speed of the video and then go slowly feeling I'm going too fast. But, so this is a repetitive process, so I'm just going to increase the speed now. Now that I've filled up all my branches out, I'm going to go ahead and add some finer details. That is just a few extra branches wherever I think it looks empty. That will be the end of your painting. If you're happy with how your branches look, you can just stop right here. I just wanted to add a few little details here and there just to make my branches not look completely out of proportion. That is it. Once you're happy with your painting, you're just going to wait for it to dry and then peel your tape off. I'm so happy that we got clear, nice, clean edges. That is it. I think the painting looks really beautiful. It was fairly really easy to paint since it was our first class project. But I think it turned out beautiful. Imagine standing under this tree and watching the sunset, beautiful. Let us move on to the next class project. 5. Project 2: The Forgotten Tree: Let us start with the project 2, which is this beautiful forgotten tree. The colors that you need for this class is cadmium yellow, ultramarine blue, indigo, raw sienna, burnt sienna, burnt umber, sepia, and Payne's gray. I've taped on my paper on all four sides in this polaroid style. This is the picture that we're taking inspiration from. We have a beautiful background and a beautiful foreground with some little grass, shrubs, and a lonely tree. What I'm going to do now is, obviously, sketch everything out. Using my scale I'm going to divide my paper with the sky portion being a little bit more than the ground portion. It's just in your mind, you're not going to really measure anything. Just make the sky portion a little bit more than the ground portion. Then for the foreground part, I'm just going to sketch this slant uneven line. I'm going to just try to imitate what is in my inspiration or the reference picture. There's a tree and these little grass, shrubs or these little twigs, whatever you want to call it, that in the side. I'm just going to sketch everything out. Now, why you need to sketch these little shrubs out as well is because that is going to help us place the shadows when we are making our foreground wash. We'll be painting the shadows before we paint the little grass. That is why I just sketch everything out roughly. Don't go into the complete details, but let everything be nice and rough. Once I'm happy with my sketch, which is pretty simple, it's just the horizon line and the foreground details. Once I'm happy with that, we're going to start off by painting our sky. For the sky, I've taken my size 12 brush and I'm going to apply water evenly on the sky portion. Just go left and right. If you have a flat brush, you can use that as well. Then just make a nice even coat of water in your sky portion. Be a little careful around the horizon line, and that is it. I'm going to show you the colors that we'll use for the sky. We are going to be using our cadmium yellow. I'm just going to quickly swatch it out for you. We have our cadmium yellow. You can use any warm yellow that you have in your palette. Next, I'm going to show you the blue color that I'm using. I'm using a mix of ultramarine blue and the indigo color together and creates this beautiful Prussian blue color which is slightly darker as well. But if you don't have indigo, then just take your Prussian blue color and you'll just have to work with it. But yeah, these are the two colors that we need for the sky majorly. For the clouds, I'm going to use this raw sienna color. If you don't have a raw sienna color, you can just mix yellow ocher and add a little bit of your burnt sienna to it to get this color or something closer to this color. Let us start by painting the sky. Lighten lightly. We're going to do a light wash first. Using my left and right strokes, I'm going to apply the yellow. It's not in a straight, even manner like we did earlier. I've left some little spaces in between to blend the blue and the yellow color together. For the sky here we have to be a little bit careful when we're blending because as you know, when blue is mixed with yellow, it creates green. That is why we have to be a little careful. What I've done here is I've added the pigment at the top, then using my left and right strokes I have just blended it to the bottom. Then what I've done is cleaned my brush out completely and using water I'm just trying to blend the yellow and the blue together, trying my best not to create the green. When you're blending them together, remember to leave a little white space where you'll be using water to blend them together. As you can see I only come halfway in the sky portion and then clean my brush, loaded up with some water and then try and blend everything. This way I'm not creating any green in my sky, but at the same time, I'm blending the yellow and the blue together. There's going to be this white space, but we're going to fill it up with some clouds. I've taken my raw sienna color and I'm going to load it with more pigment and less water, so that it doesn't really spread into my wet on wet paper. this is the wet on wet technique and that is why I've added more pigments. As you can see, it spreads into my wet surface, but not really like crazy spreading. It's quite controlled. It knows that it's supposed to blend into the sky, but at the same time, it knows it has to retain its shape. For how you're going to make them, I'm just going to tap my brush, like touch my brush to the surface and the water is just going to hold on to my paint and make it stick to the paper basically. I'm just going to make some clustered clouds. You can look at the reference picture just to understand the placement of the clouds. I'm just going from right, and I'm making these blobs and then making some smaller blobs around it to have bigger clouds and smaller clouds just to give it more variation. Remember, at this time, you are supposed to have very little water on your brush because when you control the content of water in your mix, that's how you're going to get a nice cloud shape where the cloud is blending with your sky but at the same time, it is a proper shape, it is not all over the place. Yeah, I'm quite happy with how the sky looks right now so I'm just going to leave it there and not overwork it. Then I'm taking my burnt sienna color and like we did in the previous class project, I'm going to make these far-off bushes. I'm just going to load my brush with some raw sienna. Again, lesser water and more pigment so that they're not blending like crazy. Then when you just tap near the horizon line the water is just going to do its thing. It knows that it's supposed to make everything blend and your paints will just flow with the water and it'll just try to blend itself. Just stamp, move it, guide your paints and rest of it is just your wet on wet magic. Yeah, just come from the left and right. We are going to make one whole layer of the burnt sienna. Then to add more contrast, to add bushes, I'm going to go ahead and add the burnt umber later on. I've just given this a little variation in the shapes and sizes. I didn't want them to look all even because when we do that it resembles the mountain and that is why I want uneven shape. Next, I'm going to take my tissue and make a really thin fold just to lift off some of the paint from the bushes to the boundaries for our passing through it. You can use your brush here as well, I just wanted to try the tissue method to lift off the paint. That is why I went ahead with the tissue. You can easily do this with your brush, like we did in our previous class. Brush and just completely dry it and then lift off the paint. It's pretty simple. You can always experiment with what works best for you. You like the tissue method more or you like the brush method more, that's completely your choice. Now, I'm going to show you my sepia color. This is the swatch of my sepia color. Using this color, I will be adding more contrast to my far-off bushes or the forest near the horizon. I'm just going to load my brush with some sepia. Again, lesser water, more pigment, and then just tap, in the same shape that you did before but don't go all the way to the shape that you made before. Basically, I just want to have that little warm sienna shape or sienna color at the background as well so your darker colors are going to be more closer to the horizon line. As you can see, you can still see my sepia sienna color at the back with my sepia color being more closer to the observer. Yeah, that's pretty much it. You're going to go ahead and just add some little shapes in the front and let it blend with the water in the background that is already there. You're doing all of this while your paper is still wet. You want it to be wet so that it nicely blends with your sky. Then wait for the paper to completely dry before we move on to the next steps. All of this is happening while your paper is still wet. Next, we're going to go ahead and paint that little area between the foreground and the area below the horizon line. I'm just going to take my brush and wet the whole surface and apply a clear layer of water to do the wet on wet technique for the snow. Now, like we did in the previous class projects while painting the snow, I'm using a mix of my indigo color and a little bit of Payne's gray here. If you don't have that, you can use a little bit of black to your Prussian blue and make a mix similar to that and you can use it for the shadows of your snow. Your snow is not going to be completely white. It's going to reflect the colors of your sky. When the sun shines on the snow, it will reflect the beautiful warm yellow. That is exactly what we want to do. Right below the sun area, I'm going to go ahead and apply a little bit of a lighter tone of my yellow just to show that beautiful warm reflection of the sun. Be careful when you're doing this because we don't want it to be too yellow and we don't want to have problems while blending it with the blue that is the shadow of our snow. Just be a little bit careful and you're using a very light wash off your blue color. Whenever you're blending the yellow and the blue together, make sure that you have a lot of water on your brush so that it's easier to just blend them together without creating a dirty green mix or a dirty muddy color in the middle. Add a lot more shadows slightly below the horizon line and just randomly add little left and right strokes to show the unevenness of your ground. Once the paper has completely dried, we're going to go ahead and paint the foreground part. So I'm using my Size 8 brush and just applying even layer of water because for this we'll be using the wet on wet technique. So just loaded up my brush with some water and just evenly applied it on the foreground section. Using my Size 4 brush, I'm going to load up some yellow to add the reflecting color from the sun that's shining, in that area. Just add a little bit of yellow near the edge of the foreground, and then we're going to add the darker shadows for our snow. I have just randomly added some yellow near the entrance, somewhat in the middle as well, just to show some more reflections. Then I'm going to clean my brush completely to get rid of any yellow. Then I'm going to load it up with some light wash of the mix of Payne's gray and indigo. I'm going to apply it in the little white spaces that we had left so carefully, which is going to hope that these two colors don't create any green in the middle. Then I'm going to load up some darker tones of the same gray color. Then I want to show the shadows of my tree. Now when the sun is falling on my tree and the little shrubs around it, it's going to make my shadow fall backwards. That is exactly what I'm doing. You can get a clear idea from the reference picture. So you can go ahead and look at that as well. But I'm just going to make this reflective other shadow falling backwards basically in this line. I have made a really long line near the main tree because it's long, and then tiny lines around the little shrubs so that it shows that the shadow falls right behind it. I'm adding a few little shadows, irregular shadows near the little tiny shrubs that I, or the grass that I sketched in the middle. You're just going to go ahead and add shadows for all the shapes that you sketched basically. You will have to vary your colors. So you'll have some lighter gray when you start off, then you add a little bit more pigment to your mix. You start out really light and then go ahead and build your shadows even more. As you can see, I'm just making these little lines to show the shadows. The longer shadows from the little shrubs that we'll paint a head once this layer has dried and some more details. I'm just adding little tiny shadows here and there. Like I said, you can look at the reference picture from the resources section to understand the shadow placements better. But I'm just going ahead and adding them wherever I sketch those little grass. Once this layer has completely dried, I'm going to go ahead and use a mix of my sepia color and my burnt umber color. Then I'm going to mix these two colors together. Then I'm going to go ahead and paint the tree. Just make sure that your layer, the foreground layer has completely dried to avoid any blending with the ground. Then you just going to follow the shape of the tree that you made. Using my burnt sienna catalog and I come closer to the sun in that sun area. I'm going to carefully just load my brush up with some burnt sienna so that it shows the lighter brown color near the sun, and I'm just going to make these little branches. But when you come to the area that's a little further away from the sun, you can go ahead and use your dark brown color as well. Just follow the sketch that you made. Look at the reference picture if you want to see how the branches look when they are placed together or where do you want to place the branches. I just basically follow the shape of my main tree that I sketch and then just add branches wherever I feel like adding them. Yeah, that's pretty much it. I'm just going to sketch my tree first with lesser branches just probably let say the main branches first. Then once I'm done with that, I go ahead and add the tinier details to my branches. As you can see here, our tree doesn't look really in sync with the ground. Or just look that looks like it's just there. To bring it in sync, what I'm going to do is load my brush with some water and wet the paint on the trunk and slightly blend it out with the ground so that it looks like it's right there. It is attached to it rather than it just looking off in the middle. You can always blend out your little shapes that you make with water just to blend it out with the ground. They look like a part of the ground. Once we're happy with how our main structure of the tree looks, we're going to go ahead and add tiny branches. For that, I'm using my burnt umber color. I'm just going to go ahead and make tiny branches protruding out from the main branch. For this, I'm using my Size 2 brush. You can use any brush that you have which comes to a really fine tip and which will basically give you really thin strokes. Again, hold your brush 90 degree to the paper so that you have a good control over your brush strokes, and then be really gentle and light with it because you're making really small and tiny strokes. Make sure that you're not pressing your brush a lot on the paper. Just light handedly go ahead and make these little branches. One trick to keep in mind while making these branches is to not make these little branches come out in the opposite direction. Now, if they're facing towards the left side, try and make these tiny branches going in the same direction. So if they're going upwards, try to make them facing upwards. A little degrees, left and right doesn't matter. Just we have to make sure that it's not completely towards the opposite side. A few of them can go if that is a structure of a tree. But most of the times these branches, they follow up particular direction, or at least go with the branch. Most of them at least know who they can be different variations to your trees, but for this tree, let's say we are going to go ahead and make these little branches really symmetrical and nice, and the ones that go in the same direction. Just going to go ahead and fill the entire tree with tinier branches. Once you're happy with how your tree looks, you're going to go ahead and make these little grass or the shrubs shapes near our tree as well. The area that is towards the right right side is the area that's a lot farther away from the observers. The grass is going to be slightly smaller there. But the ones that are on the left side of the tree, are going to be slightly larger. When we place them aligned with our shadows, it makes a lot more sense. As you can see, when the light falls on, this grass and the shrubs in the ground, it creates a shadow effect. That is what we're doing. Also when you making the shape, make sure that you are using a clean brush, and you are blending it with the ground like we did for the tree. All you need to do is load your brush with some clean water, activate that paint and just blend it with the ground. You'll be able to see that these shapes are not just random shapes on the ground, but they are blended and in sync with your ground. Once I'm done with adding this little grass near the edge of my ground, I'm going to go ahead and add them in the middle as well. All those darker snow shadows that you see, that is where I will be adding my grass, so that it looks like there is a shadow effect on the ground because of them. Each time that I make these shapes, I'm going to slightly blend it with the ground. I'm also adding some tiny blobs in the middle, just not really grass shape. They are just little dots for creating a little bit of a texture on my ground. Everywhere you see those darker shadow colors, you're going to slightly add these little grass shapes around it and blend it with the ground. As you can see, it looks like really now in sync with the shadows. It might have not made any sense why we were painting the shadows first. But now that everything is in place, it looks a lot better and it creates this beautiful shadow effect. It all looks really good together. Once I'm happy with how everything in my painting looks, it's time to do the final step. That is to add a little bit of the highlights. For that I'm going to use my size two round brush, and I'm going to load it up with some white wash. I'm going to add those strokes on my shrubs and on my trees. It's very random. I'm just making it on some of the shapes just to add highlights. On the left side of my tree, I'm going to do the same. At the same time, I'm using my white wash to highlight my sun rays as well. I'm just going to go ahead and make a few lines in the same direction of the sun rays that we lifted from the wet paint. If you think that your white looks really overpowering, you can always smudge it out with your finger on the area that you want to spread it in. As you can see, I've just made a few strokes and then using my finger, I like to just smudge it out so that the white doesn't look too overpowering. I'm just going to apply it on the tree trunk to add highlights, and we are done with our painting. We are carefully going to peel the tape off, and I'm just so happy we got beautiful clean edges and the painting looks so beautiful once it's completed. I know we started off thinking that it might not look good altogether because the shadows might look off. But I think the shadows look beautiful. Everything about the forgotten tree looks amazing. I hope this tree flourishes beautifully in the spring season. Let us move on to our third class project. 6. Project 3: Warm Winter Sunset: Let us paint our third class project, which is this beautiful warm winter sunset. But colors in the sky look magical with that sun rise coming in through from the forest. The colors that we need for this class is cadmium yellow, golden deep, Carmine, burnt sienna, burnt umber, sepia and Payne's gray. I've taped down my paper on all four sides, and this is the picture that is the one that we're taking the inspiration from. We're going to start off with the basic sketch. Using my pencil, I'm first going to draw the ground section. Here I'm not making a straight horizon line, but rather I'm going to do it free hand. It's an uneven ground, so there's one, an irregular shape in the bottom one third of my paper, and then one mountain like slope, that is the ground that's behind the foreground section. Then I just thought that it looked really odd, so I erased it and made it a little bit more slanting, and then I'm going to place my tree. I'm just going to make a basic sketch of the two trees that I see, so I'm just going to make one main trunk and then just have a few branches patrolling out. You're just going to look at your reference picture and sketch the placement of your tree. You don't have to go in complete details, but rather you can just find out where each of these elements fit in your painting. Now before we move on to painting the sky, I just want to show you the swatch of the colors. I'm using the cadmium yellow, which is a beautiful warm yellow. The next color is the swatch of an orange color. This is called golden deep from the white knight set that I have. Next, I'm going to use the carmine color. You can use any deep bank like quinacridone, rose or any dark pink color that you have with you. If you don't have that, don't worry, you can use red as well. Let us move on and take a brush load it up with some water and apply an even coat of water on our sky portion to do the wet on wet technique. Now, using my Size 8 brush, I'm going to load it up with some cadmium yellow, and I'm going to apply it randomly using the left and right stroke in the first bottom half of my sky. You're going to transition from yellow to orange to the pink color. You can do the yellow, orange, red if you don't have the pink, that's totally up to you. But here I'm adding the pink and the orange together to get a nice, beautiful warm red color, or a pink with the pink undertone, so that's the color that I'm going for, so I've mixed it with orange. So we are transitioning from yellow, orange and this mix of pink and orange. Once I have the lighter tones ready, I'm going to go ahead and add deeper tones to my sky. Which means I'm going to add more pigments to my mix and then just try and blend these colors together. Like we learned in our wet-on-wet blending, you're just going to transition from one color to the other, and since it's wet on wet, you have enough time to walk with your blending. You can move from top to bottom and then come from bottom to top as well. This way you'll be moving the colors both way. If you think your pink looks more over powering, then you can go from bottom to top and blend it that way so that the yellow moves more forward on the top. But if you think your yellow is more and pink is less then you can come from the top to bottom to just give it a nice blend. I'm really happy with how the transition has happened from the yellow to orange and to the pink. While the paper is still wet, I'm going to load it up with some burnt sienna color, and I'm going to make those trees like we've always done. Make sure that you have a thicker consistency of your paint here which means more pigment, less water, like very little just to make it nice and fluid, that's all we need. You're going to make this upwards draw, so you're just going to slightly push your brush upward and the water will do the magic for you in blending it and mixed it up around just to show some bushes and then just vary the sizes. Don't make all of them look in the same size, you want to vary the sizes which will make it look more 3D and give it more contrast so just to vary the different sizes, and now the next thing that we're going to do is lift our paint. We need to do that while the paper is still wet. Using my tissue, I'm just going to roll it into a circle and lift the paint off from the paper. Next, I want to show you how to add the darker tones to your forest. Now we have one color laid out, which is my burnt sienna. I'm going to go ahead and add the burnt umber. I'm using a really deep tone of the burnt amber, and we're going to apply it to the left and the right extreme sides of my painting to show the density of my forest. Over here, the stroke I'm using is not similar to the one I did before. Here I'm trying to make these trunks and try to add a few little branches to it. As you come closer to the sun, you will be using a mix of burnt sienna and the burnt umber to get a little lighter tone. Then again, when you transition to the extreme right side, you can use your burnt amber itself. You're making these little longer strokes and you're trying to get a few branches out of it. Now don't worry more on giving it the proper shape because this is going to blend with your water, so it's not going to be that clear anyway. You can just make a few long strokes and make a few branches and then let it blend and do its thing on its own. Now, the next thing that we're going to do is take a tissue make a little vertical shape like a thin vertical shape and start lifting off the paint, slide it on the paper, and this will lift off the paint in the sun's rays. It'll be like the rays coming in through the forest. You're just going to fold it together to get this vertical shape and then just lift off the brush. You have to be careful when you do this because you want to do all of this when your paint is still wet, so you have to be a little bit quick. Now, once that your paper is completely dried off you're going to use your Size 4 brush to make a few little branches and trees that are moved closer to the observer and that he can see the exact shape of. You're going to make a straight line and then you're going to make a few little branches protruding out of it. It's very simple, you make a one vertical line and then making a few little branches of trees. You don't need to make it look like an exact tree, so just make these lines and make a few little branches coming out. Do remember that you want to vary the sizes of these trees that you're making, try and make them in different height so that they don't look very odd, and of one similar size. You want to make them look like they're all different from one another. Just make a continuous plain of these trees. If you are getting confused on exactly how you want to make these trees, then you can just look at the little flow of the buoyancy that we had before, and this way you can see how tall I can make them and how I want to vary the sizes. When you come closer to the sun, you're going to use your bond amber color to make these trees. Remember, don't overdo on the rays of the sun. Try and make these tree strokes or the trees in between the rays. They should be behind the rays that are coming through not on top of it. Just be a little careful around that time. We just need to be a little bit careful around the sun rays. Other than that, again, it's fairly to put it the field is going to go all the way from the left side to the right side. Now that we are out from that little area of the sun, we can again switch to our sepia color and make these little trees. Now that that tree is completely done, we are going to paint the ground. For that I'm going to use a mix of my Payne's gray and a little bit of pink. I wanted to have that pink and tone. The other color I'm going to use for the snow, or for the highlights, and my snow is going to be a lighter tone of the pink and orange mix that we used for the sky. What I'm going to do is using my brush, I'm going to completely wet the surface with water. Now that I have covered the entire ground area with water, I'm going to go ahead and apply the highlights of my snow. Right under the sun, I'm going to use that little pink shade that I swashed earlier, and then apply it under the sun area to show the highlights. When the sun is going to shine on my snow, it's going to reflect the colors in the sky, and the other portion is going to be the more shadow part of my snow. Once I am done with just applying a little bit of highlights to the snow, I'm going to go ahead and add the shadows. I'm going to apply it from the left and I'm going to apply it from the right. Then just with my wet damp brush, I'm just going to try and blend them together. It's okay to leave a little bit of uneven white spaces in between. The other ground that we sketched right behind the foreground, that is going to be off my Payne's gray color. I'm going to apply a slightly darker tone just below the tree, and then try and slowly blend it out to make it lighter. Then I'm just going to apply a darker tone of the Payne's gray and the pink mix, just to show the difference in the two grounds and add a little bit of darker tones to add more shadows on my ground. While my paper is still wet, I'm going to mix a little more gray to the mix of paint, and then using the wet on wet techniques since my paper is still wet, I'm going to just tap in some shadows randomly. These are going to be the shadows of the grass that I'm going to put on my ground later on once the paper is completely dry so you can just randomly put it wherever you would like to add the grass honestly. You can get a little bit of the idea from the reference picture where you want to put it but it is all just to random. The next color that I've swashed is the sepia color. Using the sepia color and my size 2 brush, I'm going to go ahead and make the tree. This is the time when we make the tree once the ground is completely dry. I'm going to make the left most tree first. I start from the bottom, applying more pressure on my brush, and I slowly move upwards, slightly releasing the pressure from my brush. This way I get a thicker stroke at the bottom, and a thinner one as we go up. Then after cleaning my brush, I'm just going to slightly add a little bit of water, and blend to the ground so that it doesn't look awkward and just standing there. Next, I'm going to go ahead and make a few little branches. Now my tree and the trees in the picture, they look very different obviously. But here I'm just going ahead with what comes to my mind slightly keeping the structure of the tree in the reference picture in mind. You can see the area that it is or how the branches look and you can just keep that idea and go ahead and make your branches as however you would like. Using my sepia color, I'm going to start making these branches. The branches that I made closer to the sun are made by the bond amber colors since again, because the light falls directly on these branches, so they're going to appear a lot lighter as compared to the other side of the tree. You're just going to add branches, and then do it until you feel completely satisfied with one of your trees. If you are not able to get the thin and thick strokes with one brush, then you can switch on to your other brush, which will help you achieve thinner strokes. We just want our branches to look natural. That comes with a lot of practice, because you're able to work on your different hand pressures that you apply on your brush. Like I said, it does come with a lot of practice, but, you are painting to practice. Just keep painting trees. Whenever you get time do try and Google blue. This will help you, just to get a hang of it and make them look all natural and pretty. Once you're satisfied with your first tree, now your going to go ahead and begin the second one. So if your pencil sketches gotten lighter, you can go ahead and sketch over as well. When you make the main trunk, clean your brush, loaded up with some water and slightly blend it with the ground so that it looks all in sync with the ground. Now if you're not really comfortable with going with the flow with your branches. Don't worry, you can always use your pencil you can sketch out each and every tiny branch that you'd like and then using your brush, you can paint over it that is completely on you. What you feel the most comfortable with. I have painted trees like so many times that now I just go with the flow and I'm able to add the strokes and the tiny branches on my trees wherever I feel like it. I don't really put a lot of pressure on myself. I just try and add these strokes, but if you're not really comfortable, you are still scared that you don't want to ruin your painting and you want it to be nice and perfect and natural. Then they can go ahead and sketch it out and then paint over it. Once I'm done and happy with my trees, I'm going to add a few little details. So for the details around my tree, I'm going to go ahead with my Size 2 brush and make these little vertical strokes and strokes that look like branches as well. Near the trees, all right. Using my size four brush, I'm going to load it up with some clean water and slightly blend it to the ground, so that it looks all in sync and natural. So we're going to add these around your second tree. You can make them look like grass. Some of them you can make them look like tiny twigs and branches as well. Okay. Next you are going to go ahead and add the little grass structures on your shadows that you added while painting the snow. So these are really tiny, fine strokes. Then I'm going to use my other brush just slightly blend it with the ground so that it looks really natural. So you're going to cover all the spaces that you added the shadows to, so your just going to add this tinny strokes. In certain places they're just going to make these little dots to add a little bit of texture to your grounds so that it doesn't look all plain. I'm going to add a few little highlights to my painting. So I've loaded my Size 4 brush with some whitewash and I wiped it on the side of my paper just to get rid of any excess paint and water. All right. So that it's a little bit dry and then I'm just going to rub it over the trunk just to add details of the snow or the frost on my trees and other few little highlights on the grass as well. So you need to keep in mind that your brush needs to be slightly dry, all right? It shouldn't be really loaded with paint. Otherwise it's going to be too wide and we don't want that. We want to also add a little bit of texture to the trunk. All right, so you can wipe it on the side of your masking tape and you'll be good to go. Now we're done with the painting. We are going to carefully peel the tape off and you've gotten beautiful crisp edges and that makes me really happy. Honestly this painting turned out beautiful. It was so simple to paint. It was not complicated at all. We had beautiful simple elements and I love how warm it looks. Let us move on to our fourth class project. 7. Project 4: Snowy Pines: Let us paint our fourth class project, which is this beautiful snowy pines. The colors that you need for this project are cadmium yellow, golden deep, ultramarine blue, indigo, raw sienna, burnt sienna, burnt umber, sepia and paint gray. I've taped down my people on all four sides and this is the picture that we are taking inspiration from. As you can see, this beautiful pine tree in the foreground with some forest in the background. Using my pencil, I'm going to lightly sketch the ground first. It's an uneven ground as you can see. I'm just going to sketch that out and then we'll be sketching the pine tree. I'm drawing one vertical line on the left side of my paper. Then I'm going to start sketching the snow that has fallen on my pine tree. We will be masking this area to preserve the white of the paper and then once our entire painting is done, we'll go ahead and add the shadows to our snow. You're going to look at your reference picture carefully and you're going to sketch out the snow shape, the snow that has fallen on your pine tree. It doesn't have to exactly look the same. You can change a few little things here and there, like the shape in which they have fallen. But you have to keep in mind that you need to make it look conical. You're looking at this reference picture to just get an idea for how your tree is supposed to look. You can change the way the snow shapes are that is completely your choice. You'll just look at the way the snow has fallen to get an idea. The snow will be really small at the top because the surface area is less. As you come down, it's going to be more snow. You're going to increase the space that you're sketching out. At the same time, you'll be increasing the span, so you'll be increasing the width of your tree. The pine tree is a conical, so these are the things that you need to keep in mind and that is why you look at a reference picture so that you can get your sketch to be better. As you reach to the ground section that we sketch, you can leave it slightly below because we'll be adding the shadows to it and the tree, I mean the leaves and stuff. It look perfect. You can sketch the whole blob. I mean the snow blobs on your tree and you can just leave it there. Next, I'm going to sketch two more trees that are slightly closer to the observer and that is why I am going to sketch it and mask this since it's a lot closer. This tree is on the right side and it's slightly smaller because it's a bit far away from the first tree. Right next to it there's another tree, which is even a little further away from the second tree that we sketched. So you're following the same method, this one was really random. I just sketched out the shape of the tree just to make it look smaller, that's it. Next I'm going to take my masking fluid. I mean, take it in with my old brush. Using my old brush is really beneficial because masking really spoils your brush, so you want to use a brush that you don't really use. Using that brush, I'm going to mask the entire sketch that I've made for the snow. Carefully just go ahead and cover all of the surface with your masking fluid. Here are my masking fluid has completely dried, so I cover the entire surface with masking fluid and waited for it to dry. Let us look at the colors that we're using for our sky. We have this beautiful warm yellow called cadmium yellow and it is the only yellow that I've been using for my class project. Next we have this beautiful orange that is golden deep. Next, I'm going to use a mix of ultramarine blue and indigo. If you don't have indigo, you can use a mix of ultramarine blue and Prussian blue, or directly use Prussian blue, that's completely up to you. You just need a blue, like a deep dark blue. Next, for the clouds, I will be adding the details with this beautiful raw sienna. If you don't have raw sienna, you can mix your yellow ocher with a bit of burnt sienna and you'll get a shape slightly closer to it. Let us start painting the sky. Using my size 12 brush, I'm going to completely layer the top portion, which is the sky portion of my painting with water. Make sure that you apply an even layer of water and not too much water, just something that is even enough to make your paper wet. Using my size 12 brush, I'm going to first start off by adding a light tone of yellow just to get your colors in place just to see what goes where. Then golden deep. Then I'm just going to add it in this slide, slanting left to right motion just to make it look a little wavy and not just flat. What I mean by that is not just straight left to right motion would rather you give it a little bit of an angle. At the top I bring down the blue from the top I bring it down and I'm stopping midway. Remember, because the orange and blue we'll mix together and create a muddy shade and we don't want that. You can bring it down a little bit and leave that white space in between. Then clean your brush with water and then slightly blended out in the sky. When you do that, it will blend out seamlessly. Now that I know you know where the colors go, I'm going to add a darker tone of my color. I'm going to again start with my cadmium yellow and then add my orange. I'm going in the same left to right motion, but I'm just giving it a little bit of an angle. Now I'm stopping here near that white space. Then I'm adding a little bit of indigo and ultramarine. I'm mixing the two together and bringing the blue from the top. I'm bringing it down and then stopping midway so that we can blend the orange and the blue together. I've clean my brush completely and it just has a little bit of water and you can see I bring it down and then slowly move my orange up. This way, you'll have a seamless blend without creating a dirty muddy color. Because when you add water to it, you know the intensity of your blue will slightly lower. You'll have a lighter tone of your blue and that is why it won't look that muddy when you mix the two together. You're just going to be a little bit careful around this area while you are blending. Go from the left and right. You can mix the lighter tones of the colors together, but just not the darker ones. Next, I've gone ahead with my orange nodded a little more darker tones to have a variation in my sky so that it just doesn't look really flat and of the same color. Once I'm happy with how the blend of the sky looks, I'm going to take my size 4 brush and add a little bit of water to my raw sienna. I want to take consistency, as you can see on my palette and then slowly start tapping this on the space between the yellow and the orange. This way you will see that your paint is blending into the sky, but it's not going crazy. It still retains the shape of the cloud. That is exactly what we want. We want to have that space, the shape of your cloud, but also that little blend into the sky in the background. Just go ahead and tap these little clouds into the sky. You're just tapping and trying to slowly guide your paints where they have to be. Alright, so some places you have big toe taps and some places just tiny ones to depict the small little clouds in the sky. As you slowly move upwards, don't go all the way to the blue. Just another little white space. You can tap in a few more clouds. Once I'm happy with how the clouds look, I'm going to go ahead and add the far-off forest in my painting. For that, I'm using this beautiful burnt sienna color and I'm loading my brush with the burnt sienna. Again, we're using a deeper consistency or a thicker consistency, and I'm going to go ahead and make these little vertical strokes depicting some of the branches, so vertical stroke and a few little branches here and there. Again vary the sizes, don't make them all look same. Just vary the height of your tree, and then you are going to make this all over that little ground space that you have sketched out. They're going to be all over, so it's like a denser forest. It's going to make these vertical lines fewer little branches protruding out from it. Once we're done with that, we're going to go ahead and add a little more depth to it. For that, I'm using my burnt umber color. Again, load your brush with some burnt umber, thicker consistency so that it doesn't spread into your water or your wet surface like crazy. You have to do this entire process while your paper is still wet because you are doing all of this on a wet on wet technique. So do keep that in mind. Now I'm just taking my burnt umber and then making the same stroke like I did earlier, which is making these vertical lines and making a few little branches protruding out of it, and you're just going to cover that entire space. Make sure that this stroke is slightly smaller than the one that you've done before, so that it adds a little more depth into your painting. Now that my painting is completely dried, I'm going to go ahead and add a few little details to the branches at the top. For that I'm using my burnt umber color, and just at the top, I'm making these tiny branches so that you can see the exact shape of it. In the front, we'll have some more pine trees that we will sketch now. So that is why for the background trees, I'm going to add a few little details on the top part of them. Just a few little branches that you can see the details of. Now, let us go ahead and add our pine trees in the background. For that, I'm using this color sepia which is a deep dark brown and then I'm going to load my brush with some sepia, and I'm going to be making pine tree. So you will start from the left side. You'll make one vertical line. You can start from the bottom, make a vertical line to the top, and then you're going to make these little left and right strokes, which is you're just pressing and slightly releasing the pressure on your brush. As you can see, I'm just making left and right strokes and some in the middle to depict the pine trees. This is a very basic and simple way of making pine trees. I'm not going ahead and adding a lot of detail since they are in the background and we will be putting snow on them as well. You basically won't be able to see a lot of details to it. Do vary the sizes of the pine trees, do not make all of them together. Here you can see the exact way how I'm sketching the pine or painting the pine trees. It's just one vertical line and then taps on left and right side and slightly releasing it. Just remember, you have to vary the sizes of your pine trees. Make some of them look taller, make some of them look smaller, that's totally up to you. Yeah, just play around and paint your pine trees. After we're done with painting our pine trees we're going to go ahead and add the shadows in our snow. For the shadows, I'm going to use a mix of my ultramarine blue and indigo color, but I'll be using a lighter tone of it, which means I'll have more water in my painting, and that is why it won't be really dark. We'll do transition from the lightest and then we'll slowly add the deeper tones or the darker tones to depict the more shadow part of the ground. This is the swatch for it. In this swatch, I've added more indigo, so that is why it looks a little bit darker than the color of our sky. Using my brush, I'm going to load it with some clean water and I'm going to apply it on my ground. My brush is not exactly very clean and that is why you can see a hint of blue, but I was not complaining, that is going to be the color of the ground as well. So that was luckily not a problem. First, I'm going to add a little bit of the yellow to depict the highlighted part of my snow. Since the sun is not directly falling on the snowy section, that is why we don't have a lot of highlighted part but rather more of the shadow part. But still I've added a little bit of the colors of the sky, which is the yellow, and I'm just going to leave it there. This is the only section which I'm adding the highlight to. Next, I'm going to start off by adding the deeper shadows to my snow, which is right under the tree. So because of the tree, we'll have a lot of shadows on the snow. I'm just going to go ahead and make the darker strokes or darker tones of my blue coming right under the pine tree. Now you can just imagine the shape of your pine tree and you can see how the shadows will look. If you are a little bit confused, you can look at the reference picture as well to get a bit of an idea. But just remember that the way your tree is going to fall, you'll just have a lot of shadows, and then I'm just going to go ahead and add a few little shadows here and there. This will depict the uneven ground that the snow has fallen on. It's not a flat surface, but rather it's uneven and that is why you have some deeper shadows on the ground and somewhere it's a very light tone of the shadow. I went ahead and added a little more yellow to my highlighted part of the snow, but it turned out to be a little too yellow, so I clean my brush and slowly lifted off the paint so that it does not as vibrant as it was before. There's a nice tiny hint of yellow. Next, I'm going to go ahead and add some darker shadows in the areas where I felt that the shadows turned out to be a little bit lighter when I first tapped on the paint. Right under the tree, I thought the shadows were little light, so I went ahead added a tiny more pigment to my mix and added the shadows. You can always work on different variations with your shadow. Some places are going to have lighter shadows, some places will have darker shadows. Next, I'm going to take my white quash and we're going to work on adding the snow to our pine trees. You can do this carefully while the bottom part is still drying or you can wait for your painting to completely dry before you move on to adding the snow. For the snow, I'm going to load my brush with some white quash. This is my size 4 brush. You can use a smaller-sized brush as well, and then you're going to go ahead and start tapping it on the leaves and the structure of the pine tree that you've made. One thing that you need to keep in mind is that you're not supposed to add the snow on the entire pine tree. What I mean by that is do not cover the entire tree or the entire leaf shape that you have with snow, you should be able to see a little bit of your pine tree shape or the pine tree leaves and the structures as well. You have to preserve that little brown shape or the sepia color basically, you need to preserve that. So carefully just tap on the top, and that's how you're going to add the snow on all your trees. Here you have a better view of the pine tree or the way I'm adding the snow to the pine trees. I'm just tapping little left and right strokes as you can see, and I'm leaving a little bit of spaces in between so that they are uneven and they look natural. Once I am done adding snow, I'm going to take my size two brush and the color that we'll be using for our main pine tree is this beautiful dark deep brown color, the sepia color. We'll be using this color for the tree. All right. For that I'm going to load my brush with some sepia, my size two brush, and we'll be starting from the top of the tree and then slowly come down. You remember the vertical line we sketch, we're slightly going to follow that. I'm going to start from the top. All right. Then make this little left and right stroke, which are really small. As I move downwards, I'm going to increase the size. You know where your leaves are. Because you've already masked them. You're just going to make these little strokes that are the leaves that do not have snow on them. I'm just dab applying pressure on my brush and releasing it, applying pressure and releasing it, and that's how you get this stroke, and be very light handed. All right. Have a good grip on your brush but don't be too scared or don't be too [inaudible]. Just forget about everything. Your tree is going to look perfect. Don't worry. All right. Just relax and just make the pine tree just following this little stroke that I'm doing. If you're not confident enough, you can just take your rough paper and then try making the stroke on the paper before you do it on the main painting. This will build up your confidence a little bit. All right. As I move downwards, the size of the leaves will increase. All right. So I'll have bigger strokes that I'm making, you can see these ones are longer than the ones I made on the top. As we move downwards, you're also going to increase the volume of your tree, which means you'll have a lot more stems and the leaves all clumped together. So you'll be making larger one, so it'll make your tree look a lot fuller. You're just going to follow the exact same way that I'm doing. As I move downwards you can see the strokes a lot better. These are just vertical lines, the strokes that I'm making, and I'm just going to make my pine tree look full of these beautiful bind leaves. All right. One thing to keep in mind that don't just make the leaves at the bottom, make a few little on the tops and do add a few little branches that do not have any snow on them as well. As you come to the bottom, we're just going to add the leaves in all directions so that our tree looks full. The center little snow space that we have, we're going to go all around it. This way our tree looks really full. We're going to follow the same step for the other two tiny trees that we have in the background as well. Here your strokes will be a little more smaller than you did for the one in the front, the first tree. They're going to be even smaller, but I'm sure you're going to manage it. Now that we're done sketching a pine tree, it's our final step in the painting, which is to add the shadows. Using my eraser, I'm going to get the masking fluid off from the paper. You can see it has beautifully saved that whitespace. It does look like snow even without the shadows. But having shadows will make the snow look even much more beautiful. Using eraser, just completely get the masking fluid off. Here I have the masking fluid completely off from the paper. Now, I'm going to go ahead and show you the color that we're using. We're using the same shadow color that we've used for the ground. We're going to use the wet on wet technique to add the shadows in our pine tree as well. I'm going to wet the little section with water first. I have added water. At the top I just took a little bit of my gray color, which is the shadow color, mixed with blue, and then added that and then slightly blended it with water and lifted off the excess color. It was more of a wet on dry method. But when we come to the ones in the bottom, we'll be using the proper wet on wet techniques. Since that space was a lot smaller, it was okay to use the wet on dry method where you add the paint and then dry your brush and lift off the excess paint, leaving a little bit of a whitespace. You're going to be doing this section by section. You wet your little snow section with water, then you apply the shadow in the bottom 1/2 of your snow section, and then using a clean brush, you slowly blend it into the water. Apply water, use your brush loaded up with some paint applied at the bottom part of your snow, and then if they're not blending, you can use your brush to blend them and make them spread all over, and slightly remove the excess paint if you have at the top part of the snow. This [inaudible] we are going to follow the step for all of them, for all the three trees that we have. This is your wet on wet way to add shadows to your snow. Here you don't have to really worry about the highlights, that is because this is the backside of my tree, so the light is not directly falling on them. The major part of the snow is covered or it does not have light falling on it, and that is why it appears all gray because light is not falling on it. You don't have to worry so much about the lights and shadows for this tree. Using the same method, I have covered the entire of my three trees with my gray color. I'm adding a few little extra details here and there where I feel there's an empty space or the masking fluid had taken over and I can not really see the shape of my leaves that clearly. You can add a few little details wherever you think you want to add the leaves, and this is the end of your 4th class project. Carefully build a deep from all four sides and I'm so happy that we've gotten clean edges. Absolutely delightful thing about painting with watercolors is getting clean edges in the end. This is your painting up close. I think it looks so beautiful. Everything about this painting is my absolute favorite. Let us move on to our 5th and final class project. 8. Project 5: Cabin in the Woods: Let us paint the fifth class project, which is this beautiful cabin by the woods. The colors that you need for this project are cadmium yellow, golden deep, carmine, quinacridone, violet, burnt sienna, burnt umber, sepia, Payne's gray, and indigo. I've taped down by paper on all four sides and this is the picture that we're taking inspiration from. The first step is going to be to get the elements in place. We'll have to draw the horizon line, the cabin, and everything so that we can start painting. Using my scale and pencil, I'm going to draw a horizon line at 1/3 of my paper. This is going to be the ground, and at the top of that, we're going to draw the bond. I'm going to draw two vertical lines first, a few centimeters apart, and roughly mark a center part between the two lines that we made at the top. Then just start sketching the snow that has fallen on the cabin. You can look at the reference picture and you'll get a better idea of how you want to sketch everything. It's a very simple sketch of your cabin, it's not complicated. We're just trying to make it look slightly 3D just like in the picture. Then once you are done with the basic structure, you can add the windows in the middle. For that, you can use your scale pencil just to have straight lines. Otherwise, you can draw it freehand as well. That is completely up to you. You can add any more finishing touches that you would like for it. I'm going to go ahead and sketch a few trees just to understand the placement. I'm going to make the tall trees that you can see in the reference picture, not the ones in the background. Now that I'm happy with my sketch, I'm going to go ahead and start painting the sky. Using my size 12 brush, I'm just going to apply an even layer of water. One thing you need to be careful about here is you're not going to paint on the top of the cabin. You have to go carefully around the area of the cabin. Make sure that you don't have any water in it. Even if you do, it isn't that much of a problem because your cabin is darker than the color of your sky. But since we have to preserve a little bit of the white spaces for the snow, I would suggest to try and go around it carefully. Now I'm just going to show you the swatches of the colors for the sky. The first color is this beautiful, warm cadmium yellow Next we have this orange, which is called golden deep from the white knight set. Next, we have the carmine color. After that, we have the quinacridone violet, which is this beautiful violet color. You can use any colors that are similar to these from your color palette. Let us start painting the sky. I'm going to go and load my brush with some cadmium yellow and start applying it from the left side, stroking it towards the right side. Carefully I'm going to go around the cabin. This is the only place where you have to be a little bit careful. As I come towards the right side, I'm going to use the left and right strokes to blend it and then start adding the golden deep color. Here you can see I'm applying a very light tone of the colors first. I like to have them placed in the sky before I go ahead and add deeper and darker tones. But if you want, you can go ahead with the darker tones in the beginning as well. Then on top of the orange, I'm going to start and blend the carmine color. Then in the remaining space, I'm going to fill up the Payne's color. It's very simple. You're just going to blend these four colors together in the sky. Now that I have my colors placed in the sky carefully, I'm going to go ahead and add the darker tones. I'm starting off with the darker tone of the cadmium yellow from the left side. I'm going to spread it out the right side. Then just below that, I'm going to apply the orange and stroke it from the right side to the left side. I'm going to bring, and then the colors from the right to the left. Then above this, I'm going to use the carmine color to blend it all in the sky. You just have to be a little bit careful around the cabin part. Then other than that, you can just freely try and blend the colors together. Right above the orange, I'm going to start blending in the carmine color. Above that, we have the quinacridone violet color. Instead of having these colors, put right one above the other and blend it together. I like to bring in some of the colors to the bottom color that there is so that they look like a nice seamless blend. I just want some of the colors of the purple to be in the carmine color, the carmine to be in the orange color. That way the transition is a lot more prettier. The sky looks prettier. But if you are a little bit confused on how that is done, you can have a graded wash from the yellow, orange, pink, and purple as well. I'm just going to go here and try and blend the colors together. I'm just going to go from left, stop midway. Come from right, stop midway. That is the only thing that I'm doing and I'm trying to make the colors in the sky look a little less orange and yellow but a lot more pink and purple. That is why I've brought the carmine color at the bottom. Just using the left and right strokes, you're going to blend and see when you completely feel satisfied with your sky. You need to work until then. But also be careful that you don't want to overwork on your painting. Wherever you feel that you are a little bit happy with the way your sky looks, you can stop there. Now that I'm happy with the colors in my sky, I'm going to go ahead and swatch the burnt sienna color. We're going to be using this color to add the background trees. You want to do this while your paper is still wet. Remember that. That is the only time when the paint will blend because we are going to use the wet on wet technique. We want our paper to be wet. I'm just going to load my brush with some burnt sienna, a thicker consistency of my burnt sienna. I'm making the strokes similar to making pine trees. If you look carefully, I'm making one vertical line and then tapping left and right and the water is going to do its magic for you by making it look like a blended pine tree or a really far off pine tree. There's not really a shape that I'm following. I'm just trying to make these pine trees. Here, I'm just going to show you the consistencies. It's really nice and thick and just draw a vertical line. Just like this. You're going to load your brush with some paint, draw a vertical line, and start dabbing left and right, slowly and gradually increasing the size. Remember, you want to vary the shapes of your pine trees and the heights of your pine trees. Don't make all of them in a similar size. Make them of different heights and sizes. This way, there'll be a lot of variation in the trees that you add in the background. For the pine trees behind the cabin, when you can carefully just bring out the top part of the pine tree behind the cabin. You don't have to do the whole tree. You can just carefully tap the top part of pine tree. Next to add more contrast to these far off pine trees, I'm going to go ahead and load my brush with some burnt umber. Here's the swatch of the burnt amber and we're going to be following the same stroke method for the pine trees. Load a thick consistency of the burnt umber, and start with making a vertical line and then tapping in the trees. Make sure that these trees that you tab are not as tall as the ones you've put before. Because you want to be able to see this bright brown color that we have in the background as the sun just falls on it directly. That's why it's more vibrant as compared to the ones that I'm painting now and once this is all dry, we will be adding the third layer for the f r off trees in the background. Just go ahead using your burnt umber. Add a few little pine trees in front of the ones that you've added before. Now that our paper has completely dried, I'm going to show you the swatch off the colors that we're going to use. Now I'm going to use this dark [inaudible] color. It's a beautiful dark brown and using this color, this is going to be my third layer for the pine trees. I'm going to make a vertical line. These trees will be in-between the trees that you have made in the background. You can see that, I've started making the pine tree in between the trees that you can see in the background. This way there some more depth to your painting, and you're just going to sketch out these pine trees. Now the way you make these pine trees are very simple. We've done this before, but it's going to make a vertical line and start tapping left and right to portray the leaves. Then you're going to also vary different sizes. Over here, I don't want to add a lot of pine trees clustered together. I'm adding a lot more details, some shrubs and some little plants around my cabin. Not all of them have to be a pine tree. You're just going to vary these different shapes and strokes that you're going to make by tapping your brush to add a bit of foliage around your cabin. Let us move on to painting the cabin. For that, I'm going to use a mix of the carmine color along with burnt sienna, so you get this nice deep maroon color. You can also use any red that is available in your palette, and add a bit of burnt sienna to it to get a deeper red color. I'm going to carefully apply it around the front part of my cabin. We're just going to use this color and apply it all over. This is your wet on dry method, so you don't need to wet the surface or anything you can just go ahead and start filling in the space of the cabin. Now to fill in and add a little bit of shadows, I'm going to go ahead and add more burnt sienna to the mix and start-up by applying it from the left side and right under the roof of my cabin, and slightly try and blend it with the colors that I've already applied. This you need to do while the paper is still slightly wet, and if it isn't you can load your brush with a little bit of water and try and blend it with the red that you have already applied. You'll be using the same color to apply it on the side of your cabin as well so the other wall is going to be in the same deep, darker red color. Once you think that your layer has dried, which it will dry quickly because it's a wet on dry method, you're going to go ahead and add your insides or the gray section of the little windows. It's going to be a dark window and for that, I'm going to mix a bit of my Payne's gray with water, so it's going to be a lighter tone of the gray color. I'm just going to apply it in the two little white windows that we had. While that dries, let us go ahead and paint the reflection of the snow in the foreground, which is our ground section. For that, I'm going to wet the surface first so that you can start your preparation for doing the wet on wet technique. As we know that the snow is going to reflect the colors in your sky, you're going to load your brush with a lighter tone of cadmium yellow and start applying it from the left side. Right below it since the majority part of the sky is this pink-purple color, you're going to go ahead and apply the carmine right at the top and the bottom or somewhere in the middle of your yellow. Next, we are going to mix a lighter tone of our Payne's gray and indigo to get the shadows in our snow. Right in between the spaces that we have from the yellow and the pink that we mixed, we are going to go ahead and apply our shadows. Also right under the cabin and that area, you're going to have a little bit of the darker snow. You're just going to carefully blend all of them together. Remember to be a little bit careful with the blending of the yellow and the snow color, that is our shadow snow color because it will make a muddy color if you add too much yellow. Just be a little bit careful with the blending of that, other than that, you can just go ahead using the left and right strokes and try and blend the colors together. We don't really need to focus on the more highlighted parts and the shadow parts because we're not adding any deep dark shadows here. We're just going to add a lighter tone of the shadow and start blending in. But just remember to add a little bit of the darker shadows right under the cabin, and other than that you can just blend everything else. Once the paper has completely dried, our dark snow part has completely dried, we are going to go ahead and add a bit more details to our cabin. I'm starting off with my bond amber color and outlining the left side because that's going to be the more darker section of my cabin. I'm going to load it with some water and slightly blend it into the colors that are already there. When you do that, load it up with some water and slightly blend it, you get a nice seamless transition from the darker color to the lighter one. We are just going to slightly outline the space so that you can give your cabin a little bit more definition. Once you're done with that, we're going to apply a white gouache which is going to be the snow on the top of the cabin, which is the roof. Carefully mix a little bit of white gouache and apply it on the top. You're just going to apply it, just start with the roof you'll just cover the space that we sketched. On the left side of your cabin, just mix a tiny bit off and create your white gouache so that you get that slight gray color which is going to act like the shadows on your snow. Other than that, that is it, you just make it and go ahead and finish adding the snow on the roof. Once you're done with that, you're going to go ahead and outline the window to give it more details. You can look at the window in the cabin of your reference picture and see how you're doing it. Otherwise, you can just see what I'm doing. I've just simplified the whole thing because I didn't want to add a lot of details to the cabin. I'm just going to outline the shape and add a few little details to the window. Next, to add more details to the cabin, we're going to load our brush with some white gouache and slightly rub it on the side and on the masking tape so that you get rid of any excess paint, and just slowly rub it over the front and the sides of your cabin. This is going to be the highlights of the snow that has formed on the cabin or let's say the ice or the frost that is on the cabin. Just to show that you are going to go ahead and do the dry brush technique to slightly have a bit of the snow or the white thing on the cabin. Once you're happy with how your cabin looks, you're going to go ahead and paint the taller trees that are around the cabin. You can look at the reference picture to slightly place the trees. Or if you want to sketch the trees out first, you can do that as well. First I'm going to go ahead and make the trunk, and a few little branches. Just to understand the placement. Next, after I'm done with that, I'm going to go ahead and add the tinier branches. Adding two trees at an equal distance from one another. I'm just going to vary their sizes. I'm going to make one tall, and the next one shorter. There's another tall tree that I'm adding, which is slightly in front of my cabin, as you can see, it was in front of it, and I'm going to go ahead and make the trunk, add a few little branches. Again, you can look at the reference picture to understand the placement that will really help you out. Next, there's another tree, I'm just going to sketch a few trees right next to one another of different sizes, and height, and make a few little branches. Once I'm done adding all the trees, I'm going to load my brush with some clean water, and slightly blend these trees to the ground so that they don't look like they're awkwardly standing there, but rather they are blended with the ground. Now we're going to go ahead add the tinier branches. For that I'm using my bond amber color, and I'm using the bond amber color in the left side, which is where you can see the yellow part of the sky so that means the light is still there. Because of which these branches appear to be more vibrant, and brighter in color. When I will be making the branches on the right side, I'll go ahead, and use my setback color altogether. You're just going to make a few little branches. Over here you can see, these trees are not really broad like the other trees that with meet, there are a lot more narrow, and really tall. You want to make your branches in that way. You can look at the reference picture, look how the tree looks in that picture, and slightly try and get the shape of your tree from that. Other than that, adding the branches is something that you can bring it on your own. You don't need to look at the reference picture for that, for the exact details. But first to get the size, the shape, you can just have a look, and see how it's done. Then you're going to add these branches on all your trees. As it is a repetitive process, I'm going to increase the videos slightly. But if you think you want to paint along with me or I'm going too fast in the next slide, then just decrease the speed. You have the option to do that, and that way I'll be a lot slower, and you can paint along with me. The process is very repetitive, like I said, we're just going to make branches on all the trees that you've sketched out. I'm so happy with the way my trees have turned out. I'm just going to make a little bit of correction by adding more snow on my roof because I felt it had gotten a little bit lighter. The next thing that we're going to do with that bit of frost or the ice or the snow on my trees. For that, I'm going to load my brush with some whitewash, and then rub it on the sides of my masking tape over the masking tape is to get rid of any excess paint that I might have. This way you get a really nice dry brush technique. You can do that, and similar to the one we used while applying it on the cabin, you're just going to use the same method and slightly add a bit of snow on the trunks of your trees. Once we are done adding the snow in the vertical way, we're going to go ahead and add a few little strokes in the horizontal way as well to add more details on your trees. If you think you've overdone it, then you can wait for it to dry, and use the brown to cover up any excess white space that you might have. Don't worry about it. Go ahead and add a few little details to your trees. Once you're done with that, we're going to do the final part, which is to just add the snow that has fallen down in this irregular shape around the cabin. If you have not left that space, you can go ahead, and add white wash over it. It's completely fine. Washes of big as you can see, I'm going more than the area of the space that I left behind. You can just go ahead and add it over. If you think it's got a light tone, maybe want to add a few little layers, maybe one or two times, so that it's nice and white. Other than that, you are good to go. You can go ahead and correct anything that you want to correct, and that is it. Once everything is dry, you're just going to carefully peel the tape off. This is my favorite painting from all of them. What have I said this before? I don't remember. I think it has turned out beautiful. I love the snow event, the cabin, and the trees around it. Oh my God, I cannot even imagine living here. Anyway. I'm so happy, you've completed the fifth class project. 9. See you in the next class!: This is at you guys, am so happy that you've reached the end of the class, thank you so much for picking out your art supplies and joining me on this five-day watercolor landscape journey. I hope you learned something new about watercolors from this class, or even if you're someone who paints regularly with watercolors, I hope you enjoyed painting these five projects. If you enjoyed watching the class, do leave a little review down for me because I always love reading what you guys think about my class. If you've painted along with me, don't forget to upload your class projects in the class projects section of this class because I'll really want to see what you guys paint. To share my class with your family and friends, so that they can learn something from this class too. You can follow me on Instagram, I go by the name, Decently Aesthetic to see more of my paintings. Until then, I'll see you in the next class, bye.