Planning Your Painting: Sketch and Paint 6 Different Watercolour Landscapes

1. Introduction: Hi and welcome. My name is Darien from watercolor mentor. And in this class I'm going to be going through how I actually plan my paintings or start from the reference picture, work my way up and I'll be talking about sketching. So I had to use a sketchbook and come up with a really basic drawing and basic painting before you end up actually starting your painting on watercolor paper. So a lot of you will be wondering, how do I turn a reference photo into an actual painting. There's a few different ways people do this, but I find the simplest way to do this is always experimental little bit beforehand. When I say that, I mean, using a scrap sheet of paper, maybe you've got a sketchbook, something like that. That can get you a little bit more comfortable with the composition. Play around a few elements before you even start. So I'll be going through how to do all of that in this class so that if you have any reference photo of a landscape, maybe something that you've taken or maybe something you've found online. You feel confident by the end to be able to take those elements and turn them into an actual painting. Because at times it can be very challenging to know where to even start with a reference photo, how to take certain elements and leave some bits out and maybe exaggerate and change other bits. So you learn all of that and a lot more. In this class, I'll talk about how to paint these six paintings and plan them out and have some fun in the process. 2. Materials Required: So I want to talk about materials, what I use because I think it's really important for this class, especially to understand my process, how I put together a finished painting from a reference photograph. And essentially, I always start off with the sketchbook because that allows me to sort of plan and get through some compositions, try some different colors, move a few objects around until I feel that it's comfortable, and I want to proceed to the actual painting. So another great thing about having a schedule is that it just allows you to practice all your different watercolor techniques without worrying too much about whether it turns out right or not. Well, the time when you start painting directly onto a sheet of watercolor paper can be intimidating. You want to get things right. And often the brushstrokes can look a bit forced. And I find that starting up with the sketch really loosens up your brushstrokes or that you feel more confident for the actual painting. So grab yourself a sketchbook. This one is size. I'm not sure of the brand, but it's basically just a normal sketchbook that I've got from the art supply store cost me about the 10, $15 at the time. So essentially just grab one of these, make sure the papers of a heavier weights. So fall you are look for something about a 150 GSM and above, just so that the paper doesn't buckle too much. But at the end of the day, we're just doing these loose sketches here to plan out your painting. It doesn't have to be really good paper, just something that you can scribble on and put some paint on and have some fun in the process. So with the finished paintings, what I've got here is basically some Saunders Waterford 300 GSM paper. So this is a 100 percent cotton paper in rough. And I go through and essentially it's a fire myself, a large sheaf of the full sized paper. So the imperial sized paper and I just tear it down and into. So just a lot more economical in the process. If you don't have a 100 percent cotton watercolor paper, that's also fine. You can still enjoy the process of sketching. Maybe you've got some other paper that's cellulose, anything like that is fine. I think at the end of the day, sometimes it's very interesting because your paintings, your sketches might turn out even better than the actual paintings themselves. But it's always a good idea to practice and get used to painting on proper watercolor paper. If you've got some cotton watercolor paper that really makes a difference in your paintings. You get a lot more contrast and vibrancy in the paintings in you can layer a lot more better than if you're just using a sketchbook, which maybe takes it out to wash his maximum before paint starts to rub off. So you can really get a lot more detail and viable the senior paintings here. So with the brushes Using, got a bunch of them here that I'll talk about. So I've got a couple of round brushes here. So this is a mop brush, and this is just a normal round brush here, another round brush, so two smaller ones and a larger sort of mop brush. I've got a bunch of flat brushes here, and I've got a large mop brush here. So probably put the two mops together. Now in terms of larger washes. So if I'm looking at bits of grass here, left the field and we've got the background. I'm going to be using a larger brush, something like this flat brush. Maybe one of these two mops, perhaps this one because it's a little bit smaller given the Area that I'm painting in. So really depends if you've got a large bit of sky, can pick up a larger mop brush and get that in quicker. But that's what I use these larger brushes for. Now, people ask me often, why do you use flat brushes? How do I use them? So, flat brushes have a really unique characteristic in that essentially you can get a nice crisp and sharp edge when you're trying to paint around shapes. So what I'll do often is that I'll swap between brushes, I'll go so use this mop brush and, or getting bits at the sky. Then once I get in near the roof, I'll start using the flat brush to just get that section in and do a bit more cutting around the house so it makes it a lot easier for you. And I finally, end result is quite nicely the sort of sharper edges. So I've even used it for these trees here as well. So you can go in and do this sort of thing, gets nice sharper looking edges and just another, another effect. Smaller ones here again, same, same things. So you might be cutting around this wall or something like that just makes it easier using a smaller flat brush. And the round brushes here I use for all kinds of things. So if I want to get in a bit of detail on these bits of grass, just uses smaller round brush, get that in. And if I want to drop in some paint wet on wet indicates some rounded looking bushes. I'll pick up the round brush and do that. So I've done that here, here and over here as well. So essentially, if I've got any rounder looking shapes and that kind of thing, I'm going to be using the round brush fingers as well. I tend to use the round brush, just tends to look a lot nicer. And that's easier than using this flat brush to try to get in the arms and things like that. It's just get some odd angles. So that's it for brushes and paper. I'll talk a little bit about paints. This is the palate, one of the palettes that I use. Anyway, some of these gouache paints from about here to here, but the rest of these are watercolor paints. You notice my palette is pretty simple. I've got a bit of sap green here, I've got some yellows, I've got a red. I've got some blues. He was truly in blue, and I've got some earth tones here, some burnt sienna, burnt umber. So really if you are starting out in watercolors and even if you're an experienced watercolors, you don't need all too many colors. Green is actually a convenience color, so it's easy for you to just squeeze a bit out and use it straight away. But you can make some nice green from your primaries. So if you just get you blue and yellow and mix them together. So if you starting out 100 recommend is to buy yourself three good primary colors. So red, yellow, and blue, and use them, It's much better to have your three good-quality primary colors than using a palette of, say, 20 or 30 average colors. Because you're just gonna get a lot more vibrancy and the paint will flow a lot nicer. But with that said, use what you have in terms of paints. These are just suggestions. These are just some suggestions that I thought I'll put through. Make things easier for you when you start out. Final thing you need is just a pencil and eraser. So really essential. See when you're sketching, you're going to need a pencil. And if you make a mistake, so I'll raise it helps out. So That's it really for the materials of this class. So if you have anymore questions, just let me know in the discussion. 3. House on a Hill: Sketch: So I want to walk you through my process when I plan out a painting and I don't do this all the time. But in the cations that I do this, it actually always turns out better in terms of my painting. And the reason why is that it just allows me to edit the composition to play around with that having any fear of missing up the painting or anything like that. So firstly, what I'm going to do is just getting a little kind of square. And I'm just, I've got a really thick kind of mechanical pencil here. I think this is a one-point something, maybe a 1.3 millimeter lead. So it's Quite quite thick and create me a very loose drawing. So we've got the House of this painting here. Now. The important thing is I really want to keep this beautiful roof, but I'm thinking that a mine actually simplify it down. And I know we've got obviously we've got some of this kind of white wall or fence or something in front of it. I can't tell exactly what it is, but I do want to just join that on and make it a little less obvious that it doesn't stick out in contrast to much. So firstly, you just get in the area here where the house is seeing. And we've got these hills and rolling hills in the background and his trees. And I don't want to do is I want to make it, I think a bit sharper, but in some areas maybe tiny bit loose and softer blending into the background. So I don't want to get in all the details of those trees. I also want to emphasize maybe some branches of these trees and make them a little bit closer as well. So something like that is a larger tree here. And then we've got other trees here in here. That kind of thing. An interesting thing is that we've got this kind of path that leads almost into the painting. You can barely tell, but in almost just goes around here and we want to make it a bit darker there. That just getting a few little bits of shading, maybe a rock here, we indicate a few of these little things. And kind of small hill here. I think this is nice. And that's just going to keep the painting looking at bit more interesting. And you're getting some darkness here as well. Okay, we've got these trees coming up and I like the way they actually come in and help to frame the painting as well. So I'm going to keep these trees like that. And they kind of mirror the other side as well. So I'm going to just take some of these branches and move them over. And having them contrast against the sky is going to be quite nice. So here comes the part where we've just want to get in the building and The main thing is this roof. We need to make sure the roof is pretty obviously state is something like this. And we've got a little section of the building behind. And really underneath. It's all just darkness. That's all I'm going to really do it. I might get in some indications, just have some doors and windows, that kind of thing. And we've got the option as well to get in the top of this interesting wood construction on top of the system, It's an attic. And and we can pop that in like that. Darken it down. I don't know if we'll include it, to be honest. We might leave that out in the end. I feel like it might just look a bit odd, so simplifying it down will be easier. And we've got trees and just some dark shapes and things here in the background and between the trees as well as to I think a little bit of that going on, it's going to help. And what I wanna do is maybe add in a figure here. So let's just put in head of someone and indicate some legs like that. He walking towards us, one leg in front of the yellow ocher that and this is always going to bring a bit of life into the painting. Another figure here you can just experiment around. And as you go back into the distance, it make those fingers a little bit smaller. So this guy might be just standing on this hill or something like that and creating this person there. Or maybe they're going away, that kind of thing. Maybe it's gonna kinda backpack these holding some rocks and things. What I like is to getting a lot of these undulations and areas of grass in just with some wet on wet techniques and imply some darkness and here for the path as well, but keeping these nice areas here of green. So that's generally how I will plan this one out and I'll go through another one as well later when we start the next painting. So as you can see, working off, this is going to be a lot more simpler than working off your actual reference photo and things is simplified down. And I tend to use both actually because if you look at the reference picture of daisies and really nice trees here which are kind of white. You can see they're white trunks just stretching up there. But this is just a really simple indication and gives us a lot of leeway to put in our thoughts and our own kind of interpretation of things and not get bogged down with all the details of the reference photos. So I tend to work off these little sketches. A lot more and also refer to the reference photo because that's going to give you a little bit extra detail way you need it at times. It'll just give me some ideas. When you start off your painting, going to pick up some orange and mix that in with some yellow ocher. And I'm just saying get the roof of these has the bottom area and you put a little bit more, won't in the orange like that, k and sap green at the bottom. Here. Just a really quick sketch to get myself ready. And a bit of blue for the sky, unless you use some violet violet mix with Susan and blue has to be pretty loud off the top, which is just what? Most of it. Okay. And we got some brown and stuff in here. And this is where we're going to need to play around with it later when we do the painting and waiting wet and bits and pieces like this. Just do imply somebody dark areas and who's here. Okay. I'm going to just get in these mountains in the background, blue. And it really should be just about right. This, put that through like that and getting it partially into this guide to and getting integrated time to bind. And around here I'm just going to cut around the house. Mix that blue with some neutral tint. That would be more of that blue here. And underneath the house here as well. Okay. So I'm a little bit of illumination and that would actually work. Okay. So that's looking good so far. And it gives me a little bit of practice for lighter and I'm going to leave that roof all that to draw. The rest of it is just really some loose brushwork for the trees and things here on this side. But for a loose sketch, little valleys sketch, looking pretty good. I mean, you don't even need to use color all the time. You can just use and it's probably preferable if you're starting out to just use one color. So just use a bit of neutral tin, for example, or even a blue for the whole lot. And that's gonna get you practicing getting these lighter and darker values. Okay, leave that for now. 4. House on a Hill: Painting: I'm going to get started on the sketch for this one now. And I've got in front of me of photograph of the reference photo. And I've also got my sketch pad to the left of it. So referring to both of these references on going to get a preliminary sketch and really wanna keep this as loose as possible. But let's first the gain of a horizon line here. So indications that and of course, some of the little undulations coming through in the SOD here. And remember, you can always change these up. You don't have to replicate them exactly. Bushes and things here we've got a big rock or something here. Fat pencil that I'm using has really fixed sort of lading. It's, it's hard to get in smaller kind of mocks anyway. Here we go. Just a few kind of indications of trees and things like that. And think what we had decided before was to getting some larger trees coming in from the left side and branching out towards the sky. Bit more. This. So I'm going to be faithful to that. And the mountains in the distance. And it's getting in some of those I can, I'm not going to get in all those trees. I'm going to leave out what are those data house? A house needs to be bit more little bit more detailed. Cane to move first. And I've decided I'm going to actually leave off that top section just to simplify things down. Bottom part of the house. Here. In a few little windows, doors, that kind of thing. That k. And we've got trees and kind of thing here which we can with the brush later. What I want to do, She's getting some rocks, elevated land here so that we can fit in these larger trees. Sketching it in fat. And then this is the form, a little bit of a path going through. And we indicate that I'll just leaving these paths sloppy lot Doc and ran the sides. And I'm going to get in some figures as well. We have someone walking around here, mole figure. We might have someone hears what would make them smaller and the distance really important. Maybe another one here. K. That should do the trick. So we're gonna get started by picking up some lotsa kinda color. I'm using these mop brush because I really want to keep these washes quite loose row. So what I'm going to do is have a calligraphy brush and the blue flat brush. Flat brushes here on the side. Ready to. But let's go ahead and get tiny bit of it. Use a bit of violet for this guy. Makes them. He was the neutral tint. He's a very light wash me too dark. Let's have a try. Ready to adopt winning met, down mole. Okay. Around the edges. Cerulean blue into the mix as well. Paper I'm using is Saunders Waterford, 300 GSM paper. It's in the high white. So colorings normally just use the add what it's called. But the known high white stuff, which has a tiny bit of a yellow tinge to it. But this stuff is really quite, quite bright. Is where the mountains are as well. Just down here. I'm going to add in smaller dark and beats. Well just indicates some clouds, that kind of thing. There we go. Just keep that sky looking interesting. Yellow. Here. A woman up 10. Some areas. It's always great when you've got a bit of warmth in the skies will. Just indicating that. And what I'm gonna do now is just getting some of these mountains wet in wet. So you are going to flat brush. And picking up myself. This cobalt blue. And look at that, maybe mixing some of these purple or violet ish this violet color and just drop that in like that. Sure. It's fairly thick. And let that is said, settling in and blending the mountains and valleys and mountains in the background like that. Soft shapes. Timing is crucial here. So you still want to make sure that the area is pretty wet, um, but you don't want to go in straight off data. You actually to the sky. Otherwise it's going to be too wet. Cutting around the house. That can bring this down the page. Might actually adding some green as well. Yeah, let that blend slightly. Just cut around the house. Known as a couple of figures here. And forgotten about the science that will get that in as well. It'd be a little bit lots of Trump that in. Get that to melting to the distance. These small green, this is just some sap green. Okay? Now I want to mix up more sap green here. And also going to add a tiny bit of cobalt, cobalt, cadmium yellow. So dropping that in just underneath here. And it's encouraged some blending like that. And then hence and leaving some bits of whites on the paper. I'm just trying here to indicate this path which needs to be actually a lot Latino. Some ordering the screen down a lot. So we're going to imagine the path counting here. Come down like that. Yeah. And around the size we want to manage it Taka, from what we can do is just adding one of these green foods like these. That more blending. Kinda ran these bigger is the main one, these two that we have to make sure they're in a freak little bit of water onto this enter the mountains. Just to encourage it to blue Little. Never know what to expect. And we wanted to know the board into the, going into the sky. But another way you can do it, It's just pick up some water on the paintbrush and just do this. Sort of accomplishes a similar kind of effect. So that the green in. Now we're just going to work in some more colors, some darker colors, cobalt blue. And you can even use some of the ultramarine as well. And just dropping in some of these colors where you see some darkness around. Anyway that you want to imply bit of darkness, just drop that in like that. So this is the kind of bottom of these trees. Shuffle, it would be good, be darker. I'm just indicate con of them going up like that. There's a little shrub here. And little bits paces, essentially indicating the brush strokes like that going into this valley. Path area. So same here on this side. The TO adding some rocks or whatever as well. Yeah. Great time to do this stuff up here as well. And always turn it into something light up. But he just wanted to preserve some of these cones, these light green colors running down the center. And it's going to help. Okay. Same as before. You can pick up maybe like a little bit of this CPI. Cpi, dry off the brush and do this. That's gonna gain some DACA beats. Going to split things like that. Hey, let that dry off for a bit. And we're going to do is actually start working on the house. And more specifically just the doc would be it's on the house. No one ever really know through around too much with it. So I'm picking up some nature tend to be pretty dark. These areas. Going to just indicate that here and bring that down like that. Bits of why can they don't mind? And just to indicate some hotlines had kinda thing, something like this. And we can do is just getting symbol green, dark green around the house is mostly using a smaller round brush. And do that, It's indicate like this. Draw off the painting thrust and indicate some of these trees and things around the house. Remembering to leaving leave some of these previous wash areas in like that. So don't call it a whole lot in bit around here. The front of the house is important to the cattle so much. Trees. Could bits and pieces here in brown. Here. Delicious indicated a few kind of rocks and things. Got this tree. We're going to get in Dhaka. Coming in from this side, is using a round brush for this. I'm going to make this loop very loose. That is perfect. Branches coming off to coming into the painting from that side. Joining on to these rocks will move shapes down the bottom. Dry brush on the ground, don't want to overdo it, but this is again implying texture and these kind of undulations of the gland. Very careful. And to go over the Zoom snow section of the path whichever way you choose. Wherever you choose the path to be. A rock here. Rock here. Get negative. Painting, some indications of some lots of rocks in there to add some little highlights on the tree. That tree on the right side. So again, with this round brush, sienna, some CPI myxedema. And the brush is pretty dry. Bit more paint. Rocks, indications of rocks anyway, but it dry brush here. More indications of rocks and things like that. We wash of yellow on the top of this house. Like that. Red mixed in there as well. Just like that. K here. And again, these guys in pretty dark, neutral tint for the legs. Top, go to the kind of bluish color. Wash. At this stage, I'm just looking for bits of bits and pieces of detail that you might want to add. So if you want to emphasize some trees, for example, Neely house, you can do this sort of thing. And I think it helps. Just implies more detail than is actually there. Bits of grass and that sort of thing as well. Noakes. And importantly helps to lead the viewer's eye to painting. Oops, too much. Goods. 5. Farmland Scene: Sketch: So here's a photo reference that I'm going to edit down and just change the composition a little bit, mainly because it's portrait based. And also I'm thinking of adding in a river or something coming through the center, becoming off the side there. So we'll see how we go. I may change my mind later, but prestigious getting a little sketch. And I'm going to squish this down a little bit. And the mountains in the background, like them coming around halfway through. So I'll just make some of these up like that. Kind of go up again at the back. Like that. I want them to blend in soft, wet in wet shapes in the back. Do like these trees, smaller kind of clumps of trees. Here's will say. And I get some indications of these in like that distance. And there's a bit of the path kinda leading in like that. And this area here going across. And these little trees here, again just getting DACA, but leaving bits of the lots of section as well, planning that out. Okay. Come on over like that. And then we've got just as kind of foreground area here. Having these kind of undulating mountains and things like that just to give it a sense of depth. So I can come down to the valley. And these houses and bonds are going to make it look even more vast. Just adding in little ears it wide like that. Here. Let's have some trees. It a little bit more shaped as well near the houses that I get some of these kind of lines running through here just to indicate some crops or something like that as well. Setting a bit of a play around here. These may not be in the rod sort of direction. Coming across like that would be better. Yeah, it looks better. And then here we've got WC, some darker trees underneath, but more importantly, the foreground here. And just having some shrubs in that kind of thing. We might put a little like somewhere here too, like that. And that looks pretty all right. So I'm going to just getting some color for Elise. Similarly in blue. Just to move neutral tint. This guy in the middle wash of color. And also provides me a soft edge for these mountains in the background. And normally I would wait a bit longer to get these in, but I really just want to jumping straight away. And it's just a sketch. I'm just getting some of these colors like that, touching that onto the background. The sky mix anyway. Okay, and here I'm just going to put in a lot of light green. This is some sap green that skip bits and pieces as well. Yeah, to get the whole lot in my mix, some yellow tiny bit of cadmium, cadmium yellow and the green that has is due bit of cutting a randoms. And we'll bring the sole dancer, the front here. That mountains over there in the background. Wipe off. That often gets some, some blue for some indication of water. Here. We have the C now. And dropping in little indication of maybe some blue in here just to indicate these kind of rows of crops like that. It's really just, really using one brush for this. Just the flat brush. The k. That maybe is if you sort of things going on here in the background and the foreground. Betas, yellow and sienna. Here. Maybe some purple in this mix as well. Just some water running through it. It makes us through. So that's an I think that's a pretty good plan for what I'm gonna do. My painting. Lighter, I like how I've done those crops as well. Just adds a sense of perspective. Like that. I'm thinking maybe with these, this area at the back, I need to do something. And obviously, once it's dried, I want to add in the smaller trees and things in the distance as well. 6. Farmland Scene: Painting: Okay, time to draw this one. And I'm going to start just below the middle area of the pipe, drawing the horizon line like that. And just the location of these rounds and just well, and I don't want to make them to be just the location like that, just pass through a distance. I just want to reduce that one. It would be great and we get one. So we'll just run the course. So that's something like that. And then we've got some of these other undulations and things running through the bag. Right? Get this one running across here. And everything else is really just in the foreground here. A wreath of the risks of images, tiny little trees and the things in the distance really going to make them small. Start out just with these general shapes and get the trunk seen. Sense of scale is really important. So make sure that they are simply small. The trunk seen that helps to anchor them to the ground. Maybe a few larger. This is logic tree here. Larger tree here is we're getting closer. Pretty much everything else. Just Boutique on a smallest shameful wall, sort of just look like clumps of trees that had joined together. So many indicate little house here. Sure. What he is just that little house that maybe go to this one. We've got a couple down the bottom here as well. Just really getting some little details like these. That. And what I really wanted to do is again, just getting these rows, fat corpse running through like that. This is going to help with that sense of perspective. Like that. This side. Let me think about what we can do a meeting, maybe. He did some just sort of come in like this. Behind, actually change direction. Oops. That is coming out towards the right. Then this is the main one that we need to get in. And I'm going to take some of these trees in the reference photo and use these two lines. Mary's here in the back section here. So it runs downwards. And then we've got small trees which is receding into the background. Barely tell what's going on. It just starts looking like. So he doc clumps of trees and things like that. So I think this is height. You can have like little houses here. So they get smaller and the distance, this one is too big. Okay. Some little indications. Okay, we're gonna get started on this one now. And using a large brush, I'm going to be picking up some of the UI and blue. And I'm going to drop that into the sky, like that. Little bit of red. As well as we move down to the bottom right. Shift this around pretty quick. We have ongoing. Just want to get into it a lot. Walsh usually talk was well, he's just a bit darker, so I'm adding in these blue areas. And then for the rest of it, don't worry too much just letting that cerulean blue down the page. Just to with these mountains I paint over the top path them like this. And what that allows me to do is to basically getting these nice soft sort of mountain shapes running through. So I'm going to just add a bit more color into the sky first little bit of neutral tint. Places to indicate some clouds while the paint's still wet, just I could've been honest. This machine at the top, we just want it to be a little bit Dhaka. Okay? So just around here, what I'm going to do is adding some blues and cobalt blue. He's to be around a coffee sort of consistency. And I will add in some red as well. So as cobalt blue and in red is probably sort of color. So let's drop that in. And again, a soft edge for the Manhattan distance. Okay. That's pretty much it. I'm going to spot now too little flat brush and carry this wash down the page. Trying to leave a little bit of this white as well. It's really easy when you've got a rough paper. This is sold as RAF, which just allows you to skip bits and pieces, indicate details at relieving. So moving down the page, what I wanna do now is just pick up some sap green cans, drop that in and to talk and then add some yellow bit of cadmium yellow in here and dial it down 10. And the mountains hours we'll just basically cutting. Leave some white there. And you should just dilute this green down a fair bit of this consistency. And if it lands up into the mountains a little bit again, no big deal. Something that's kind of already dried off. It. Often most of it, it's blend it up, which is nice. And what you wanna do here is just carry this whole way down the page. Bids up bits and pieces, just leaving some white here. And I am going to sculpt to lodge a flat brush and the 12 brush. Courage, similar blending and lifting up. Who've paint? To myself? It's been beautiful, blue. The carrying of this, I leave. Let's bring these little way down and remember where you put these houses so you can just cut around them a bit, reads the rear squats, a couple here. And then we'll set crane, strengthen it a little bit on the front. And as we get here, I'm going to add some yellow or ICA. Just in the front section. This is the foreground. You can have these neutral tint from the HTML document. Doubtful. Let's general idea that launches re-wet. The area. You see. Yeah. Oops. And I want to do for these hot is I just want to getting some of these indications of the line work that I drew in early. So that the water kind of settling for a bit first is some of the backgrounds and the foreground, but I'm just going to pick up some sap green. And I'm going to do this sort of thing in areas that indicate equal numbers of crops that we tried to decay in pencil before. Is try he ate so much, it's too wet. Paint was just a bit too wet a moment. And let me just try calling a bit to occur. So kinda of like this. Okay. We don't wet. One struck can go back into it and start feeling around or it's just kind of weed. Right? Okay. Is it beautifully? It's kind of faded off. So hopefully it will look like something when it all dries, you kinda go to Tom exactly when it is. Me think it's going to the rod from to go into and nothing. You know, it's mangling that sort of stage with the pancreas do damp. And K and test Dick. And we're going to wait for the soil to dry off before we get into the next pot. Round brush. Now, just getting a look. Smaller round brush maybe like a size 5, should do the trick actually. Go with these, this one here, size five or six. It's an old brush that I've had. And we're gonna do is just pick up some of this green document down a bit. And we wanna getting some DACA trees. So let's have a little dot. Just turn he was some of these smaller ones testing it out. And to see that's to dock, you just need to adjust the paint. The UX, say Trump that even connect these leaves out like that. Yeah. You got a trunk. And another thing we just got to decide where the shadows which is going towards the right-hand side like that. More trees here. I'm actually going to come down. And it's great when you have brushes and all would have brushes like these because you can get some loose and mocks, which would really wealth trees. So they just look a bit more irregular, which is really what you want. Some of the trees as well you just want to see behind the houses. And the reason why is that it just helps to frame them and pop out a bit more. To do that again, at least one here. Here. I want to be too big. Let's go and have some fun and put some of these trees in the shadows as well. Underneath them. Okay? Some of them look more like logic patches of trees like that. So remember just to vary them up, keep some that involve themselves in Cape, some that just clumps like these. And using them just to frame this area as well here, speed of land that's kind of going up like that. Just adding this talk and trees here in the foreground, slim little shrub or something like that here. Coming up into the foreground. And again, some of these nice little dry brush strokes as well. Running through the mix. Some just a bit DACA that. And now the bush here, that small indications of these bits of grass and things coming off. This is going to help just bring the foreground out little k. And it really in the background, I've just got these kind of smaller rows of trees all the way, just heading out to the distance. So that's all I'm doing. I'm just indicating bits and pieces like that. And going out through the back here. Just always just drawing a line with some irregular shapes sticking out the back. Yeah. Just keep them small. That's the main thing. And I just want to now indicates some dark areas in the trees peeking out around mixing that with some blue water that down a bit more blue. And k. Let's get some shadows on the right-hand side of these trees and lows, whole darkness underneath the house here. This one is, well, you do bits and pieces to that. So now I'm back here. Is we should use a smaller brush lease. And that's finished. 7. Boathouse Scene: Sketch: Okay, so this one is quite an interesting saying that, and I'm going to start out with this top one here first, and we'll do a bit of a corner okay. Quite quickly. And I like the scene as it is, but the only thing that I really want to change is just that little house, that little bird house or whatever it is on the j-th, feel like it's just a bit too far in the distance. So one thing I'm gonna do is bring the horizon line down a little bit because I want more sky in this painting. And so one thing I want to change, but also with the house here, I really want to just change the shape of it a little bit to make it a bit more kind of just shaped like this rather than having a sort of ends and just kinda comes out like that. It might change later on, but in the reference photo it's more kind of like this. Um, so anyway, I brought it closer because I want it to be just more present in the actual painting. We've got the reflections underneath. Another thing I do want to bring out as well as just the Jedi that goes out. Sort of extends out. Which I think makes it look quite interesting. So is there might be like another structure or something behind that. It's hard to see. But another thing I want to add in is just some trees coming in from the side, like these larger kind of branches like this just coming across and cutting through the sky. But then we've caught it in darkness behind here if would just larger trees and shrubs, that kinda thing behind here as well. What I think I might do is actually getting some indications of mountains or something like that. Running behind. Something like paste one of those trees and more trees or mountains, whatever they want to make them be more pronounced. So that house in the bottom of it Can down. Another thing we need to decide is maybe put some windows or something on, on the sides of it as well like that. And now we're just going to get in this area of the water coming in like that. So after finishes off here and there's all these little rocks and things here. There's even a branch is kind of washed up on shore. Lu, logo, something like that, which is actually quite interesting. And we might even want to get into second one here. Just keep coming off on an angle and make it look a bit more irregular. Like that. Maybe another stick or something here as well. So all these rocks and that kind of thing makes sure that we get them smaller as we go into the background. Another thing I'm my thing of adding these, maybe a sailboat was something here. Something like that. Bouchra, another kind of larger number of rowboat like this. Because this could be in like two. And another thing I want to add on just want to add a feed and a kind of walking towards the same here. So when configuring their monetary bit too big, I may do another one like that, just walking towards the sink. So what we will do now is just getting some colors and play around a bit. One thing I want to do is just getting some of that red on top of the house. But firstly, let's go ahead and get some colors into the sky. Gonna pick up a bit of purple. And purple, Trump that in. And surly and blue that keep it pretty light. And the edges, I'm just going to talk in more in the edges and top of the painting and come down and just drag that color all the way down. And let it do its thing. Got cut around the top there. And with the section here and getting an indication of some of these mountains. What I'll do is just pick up some cobalt blue off the palette. Coffee sort of consistency. Cobalt blue. And that's what I'll just drop it in like that, maybe mix a bit of purple in there as well. And you can give it a read to sort it doesn't look too vibrant and play around with that, drop that in there like that. Then the distance with the house, I'll just add some warmer color to the roof like that. And also to the bottom. Yeah. Great. And the water. Let's go ahead and getting some of this color. Looks a bit of purple in there first. And then just join it all up. Move it down into the foreground. Some figures here to cut around these sticks and things there. And just dock and to be all here at the front. They don't all run off down to the bottom of the page. Some coloring here as well. I'm just going to use a bit of Naples yellow. Naples yellow. Here. I had to dry time to just play around with these top section. I'm going to speak up and bid of these. When we go here, I think we've got some English rid. So you just drop that in to the top of the building. And I'm mixing a bit of brown or nutrient taken a2, which just has to be darker than the sky. And I'm giving him the top of that building fist like that. Okay. So leave that to dry off and a little bit. And just play around with some of these rocks. Let's dial. You want to go? Okay. So there's probably a bit too dark, so it's always good to do these little sketches. So you get a general practice on how donkey need to go some of the paint mixing. It's just really good idea. So that's all I'm doing at the moment, just getting in some of these little rocks and testing out the paint consistency and the colors as well. You know, you might want to add in a bit of ground for some of these rocks and see what they look like for the branches here, for example. That kind of thing. Then we've got some figures walking around. I'm just putting a bit of color for the body's like that. What else have we got? So I'll just getting the bottom of that house on some neutral tint and blue. So just like that. Okay. Let me go the same time we can get the reflection in these red for quoting bit of the reflection just doubled down. Well, he's using a flat brush. You've got all these other bits and pieces of reflections coming down through What's the back as well. So I'm going to just go ahead and get that name. There. We've got the change here. We can just join on to the rest of it that yeah. And then other bird Qia boat here. And I'm just going to recruit indication like that. This field is and then add to the front end of it. Okay? So the thing that's, that's a really good little sketch to start off. And I think this is going to help with the composition. It's given me some ideas on what I can do later on. So let's give the actual painting and try now. One last thing that I'll do, getting them are darkest of dogs at the backfill, these trees which are kind of forgotten to do. The alias, which is putting that in round brush like this and getting it to come across. We can do when we get to the figures which regard learn is just the cut around them a little bit like that. To imply a highlight. You can even just try and see if we go around these little house. It's little bird house like that. And we can see whether that works or not. So you can play around with all kinds of things with these sketching. You can even go over to the side and getting some trees or something down. Going over that side, too. Little shadow here to the roof. Maybe some windows that 8. Boathouse Scene: Painting: Okay, Tony, it started on this one and I've got in front of me two versions. I've got the sketch that I just did, as well as the actual reference photo for just referring to more details and things like that. If I ever get stuck looking for new little objects and things to put in here, I can always go back to the reference photo. So in the final iteration, what I wanna do is actually just lower the horizon line slightly just below the midpoint because I want small sky in there. And that's giddy in the literal. The shore here, just as kind of rocky shore. Generally speaking, just come around to the side here and putting a few rocks and things in the water. Remember as we get back into the distance, as some of these rocks get a lot smaller, but vary the size and the shapes of them as well. And don't worry too much about getting a lot of details in for the sketch because with all these rocks, to be honest, most of it's going to be done with the brush. We don't want to waste time trying to figure this out, limit ourselves later for the painting. So I've got to log in. And I will put another one that goes up for the kind of around here. And maybe a stick or something comes out here. Something like that may change. We see how we go. And let's have a look here. We've got this house, this Boathouse would have released. So popping that in here and change up a little bit just to make it a bit more simple like this. I think that will just make a little bit better, something more simple like that. Thinking maybe we could have a side of it just exposed like this as well. And kind of like part of the roof. You can see underneath. And let's put in some little windows and things like that here. Water technically starts around there. Just zoom into the photo, that's I think that's looking pretty good. Now what we wanna do is getting some of these kind of JD that goes out, just an indication of how far it goes out. Somewhere around there. And there is a fence or something like that here, but we're not going to worry too much about it. We're gonna getting some figures. Start off with the head and the body like that. Maybe we're adding the arms down by the side here. Lakes. And we'll get another one here. Oops. I was a bit too big. Like that. That walking towards the camera. And that's looking pretty all right. What we need to do is just again, knockout is going to be area of trees and mountains in the background that we were deciding for hell views we wanted to maintain. And I'm going to really exaggerate this a bit more than the actual reference photo. Remembering with these trees as well, changing them up, I'm going to just get a larger one that cuts across the painting like that. So I think that will kind of do it. We did talk about getting a Boating as well, just a little boy in the distance, maybe a couple of them here. So you can do that. Definitely. I'm not even going to put someone here just standing on the Jedi. Remember to just make the figures from the distance lots more life. You're going to do that. Okay. Ready to get started? So let's pick up a screw or a large mop brush. And what I'm gonna do is just basically start getting in some details in the sky. So I've got some purple purplish kind of paint and drop that off the top and see how that looks good. And maybe a bit of red in there as well. Too much bread, way too much read. What I'm gonna do is just pick up some of the cerulean blue and mix that in that most colorful sort of sky. And a lot of this will just turn into a more subdued color as well once it'll kind of mixes together. Okay, So bringing this wash all the way down to where the mountains are. And what I wanna do as well as just getting a little bit of color for this house here. So I'm picking up some orange, very bright orange, and I'm going to drop that straight in like this. There we go. Very broad color. And with the bottom I'm just getting just getting in the bottom as well like that. A little bit of this. Just wanted to dial it down a little and carry these wash of spirulina blue, keep it wet. Really gotta be careful that it doesn't dry off too early. And just get that in. Here. The good of blending going on, but don't worry. We're really trying to getting some background colors to start off with. And what I wanna do also is getting some clouds and Dhaka clouds running across. So I'm just mixing up some darker paint to dropping to the sky. Maybe some purple as well. That's soft and so often in town slightly and do it. Hey side. When I leave that as it is in terms of the sky. And what we're gonna do now is just getting some of these self, the mountains in the distance. Cobalt blue, a coffee kind of consistency, cobalt blue. And I'll put this on the tip of my squirrel mop brush. And I'm just going to drop that in like that. All in one guy. Maybe mixing a bit of purple and pink, these neutral tint as well. It's just a little bit to glue ish. Okay, so let me go and around those fingers a bit. And I want to just replicate that on the other side. Now, using that point of the brush, you'd be able to get in a little bit of this color up, maybe a little bit darker as well. That okay. And I just needed to be house like that. As we go down to the water now, I'm going to be picking up some of these spirulina blue, just whatever we've got in this guy, just wash that down a bit and drop has striding and what these and also just get it to that purple to mixing with it. Full cycles, some little bits in little bits of neutral tint and orange mixed in there as well. Okay. And going around that little bug house and bringing these washed down through lots and even a little bit on top, putting some more water and I felt its fields related to dock. And we'll go down here. Just can't just cutting around some of the sand and things on the right-hand side. And we're going to call this Olympian. Hope at the bottom of what we can do is add in a few little recalls and things like that. Just pick up a bit in nutrient, mix it with blue or you can do whatever really, but it just getting a few new repos like this, blending nicely with daughter k. And on the right-hand side I'm going to pick up another mop brush and just grab some of that Naples yellow again, trump that in there. And let's have a look. This is a neutral tint here as well. And the aim is just to get encouraged some mixing going on. I'm trying to cut around these figures to bits and pieces of them and maybe go and encourage a little bit of mixing. I'm going to leave some white on there as well and have to get everything in. Okay, great. So here sit back and let's have a look at how things are. I think that's looking a K for this stage of the painting. So we'll leave this to dry off. I'm going to take a shortcut and actually draw it off with my hairdryer. So let's give that a go. So we're getting into the next step of the painting now. And that's really just putting in a lot of these DACA sort of value's going to be using a round brush. And we just have a look at what we've got. We can grab us, move that brush and school work as well. And I'm going to grab some neutral tint and mix it with some sepia humidity with this beautiful blue, cobalt blue in here. And I don't want to do is just getting the bottom area of these this boat house. Be pretty careful they're going across to just get that straight edge. With a flat brush. This tends to work just a lot easier with a flat brush. Times. There we go. I just got in that bottom part of the building there. And of course got this side as well. I'm going to use a small round brush to get inside and just this sort of thing going on here Like that. Okay. Let that do its thing. And what I'll do at the same time, just getting bits of these JD as well. So you've got to add tons, join on shapes like these to make it look a bit more natural looking. Otherwise, you get pizza Hut just feel like they don't join on to the rest of the painting. So this is pretty dark and I'm just going all the way across, keeping it pretty loose and Bottom of that JD. And like that, again, we've got some votes here that just came in one brushstroke. You can barely even tell that they, they're join up some of these areas on the Jedi. So you want a mixture of structure and looseness. So some areas you attentive to pay a lot more attention to in some areas and loosen up again. And having that combination, those combination of brushstrokes, makes for a more interesting looking painting. Okay. Hello thing you can do is just also getting some little brush strokes for the roof like this to indicate a bit of texture on the roof like that. And you have to think what else we need to do. So we want to get in the reflection underneath. So join that on like that. And just using a little round brush here. And that's up to you. You can put in a bit of red, just a warmer color at the end. And to try to just imitate the top part of that building is known. And just get these kind of ripple like ripple like effects running across. Like these two. Basically imply some reflections. Go all the way down to here. That can do the same thing. Up, up, up on top here. Little reflections like that. And so to think what else we want to do. The little mountains in the backgrounds. The background here, I think that looks pretty good. This sort of softness off in the background. So I really want to preserve that, but still getting some darker bits and pieces running. But first interested in getting rid of color onto these figures. So we'll go with a bit of yellow, kind of a warm color for this one here. And for the other one. Let's pick up a beautiful red or something like that. Drop that in in there. And we can get some neutral Tintin getting a little bit of some detailing in the legs as well. So I'm just gonna join that up. Okay. And if all the other one wobble, if that brush a little bit and the RCA, we can just get a simple indication of them. Excellent. Join these two together like that. You actually can. Just a bit of color or Pompeians, some orange for their faces to do bit of color there. Oops, bring that down. Okay. And want to getting some of these rocks and things in the foreground that we would try and indicate earliest. So these are going to be pretty dark. So let's just go ahead and enjoy ourselves. He just popping in bits and pieces, can use some of them as highlights as well. We've got bits of paper here that we've left exposed from the previous wash. And it's always a good idea to utilize those for some interesting looking and highlights. Just using some darker paint I've gotten the palate doesn't matter what it is really in the vth, what a gray or neutral tint. Or if you just mix up a dark from your primaries altogether. And you really doesn't matter. Just have some fun and create some sort of abstract rock shapes. And if you ever get stuck on what shapes to putting, just look back at the reference photo and pick out a few that you want to use and just copy them in. This is all I'm doing, being very quick here. And as we get up to the back area, we notice that rocks are just a lot lighter as well, so it's going to pick up some lie to paint me into, indicate some of that. In the end, we're going to draw in every little rock, but just some textures on the ground. Heat indicates something going on. This is a this is one of those logs. So I'm just going to getting some detail like that much. Okay. And every guy rocks and things, larger ones joining on to the others. Testing here on his discuss. Could paint this one as well. Who's the board? They're needing them like a bag or something. Hoeing of this side. Now across, okay. And I'll use a smooth round brush. This is a number, numbers, this number eight round brush. And I'm gonna getting some really dark trees, tree shapes and just neutral team with a bit of blue, ultramarine blue for these. And starting off at the side here. Just getting in some trees change running across the painting through the sides like this. And some go ahead and play around with the savy more and get some darker colors here to say, cutting around the figures like that. Just leave a little kind of halo around the sun like this. And here we can just getting some trees or something like that. The foreground, not the foreground and the background. But I still want to leave that area in the back of these sort of nice soft edge of the blue from the previous wash. So just have a play around. Just using my fingernail to try to scratch off a bit of paint. Okay. Seven a look to see what else we don't want to do. I think it's looking pretty. All right. Actually going to shadow underneath that person. Getting some birds. Okay. You might just detailing little bit more here. Getting in some kind of, we know is a pretend windows like that and darken some areas of the j. I think I'm going to redo the shadows. Reflections, I mean slightly. And that some shop and kind of strokes going through the bottom. Okay. Rocks and skinny and some larger ones. The bottom logo as well. Okay. Quick dry off some wash. I'm going to pick up this whitewash and I've gotten the palate and it's going to turn out a little bit kind of grayish because there's other paints and exciting here. But finishing touches really just going to add in some highlights. Here in this. You just go for the hall lots on the left-hand side of some of these works. And maybe mixing a little bit of yellow, Naples, yellow here into too much to y 24. Kinda highlights there. I'm going to draw off with brush and this is going to hopefully make it a big hole. This obvious guy, he's fee is in. That is finished. 9. Cottage Scene: Sketch: Okay, I'm gonna go ahead and stop this next sketch. Narrow, little bit more complicated. He turns with the house in the background. So that's hitting the board of the list. And the first thing we're gonna do is just put in these kind of that. The area here, the house is on a bit of a sludge, so we get that in like that. And it's just beautiful drawing for the house. Just a quick sketch like that. Mainly though we wanted just getting this path that runs all the way up to the back. Butt comes out more sort of brand here like that piece of grass, clumps of grass and it was just growing across it like that. And you've got he's kind of wooden fence just lining the path. And notice how they also kind of going off on an angle some of the, some of the pose. So just make them smaller as we head into the background like that. But a lot of grass, grass kind of blowing around, things like that as a tree here. So just to do a quick sketch of that tree like that, I'm just getting the trunk there. And another one here has, is going to be important one though. So let's focus on these and part of it. So we've got an interesting kind of roof comes up like that. Just thinking of ways that we might be able to simplify this down for the purposes of this. So I'm going to actually get that any kind of triangular shape. I know it's going to be more complicated than that. The mean does. Notice like that is a tree actually in front of that house and area of the house like that should have a stands off to that side. Here. Little chimney goes off like that. And then we've got the kind of Assad extinction, like a little patio area like that that will kind of extends off to that side. That okay, I think that's about enough information I need to stop doing a basic sketch is even a little house. He had little shadow something at the bank. So firstly, what we do is really want to getting some kind of colors, orange and close on the house arrest. So just a light wash in this area, especially on the roof. I think that's really important. And some of those colors in first, then the sides of the house. I'm actually going to just use a bit of Naples yellow. And apart from that. So your roles and things like that, I'm not going to touch anything else. This house here is just use a bit of this gray color up. You don't want it to pop out too much. The trees and things, I mean, the grass here in the foreground to that we'll need to get in. But for a fee, I'm just going to go ahead and add these little fence and picking up some green bit of sap green. Now I'm going to just go through and getting the grass and loops. One thing I forgot was more of this path here which is kinda makes dealing with law to heirs of the path. And then some of the green as well, say, back to the sap green. Let's go ahead and get the grass in here. Keep it pretty light. So very light wash and cut around some of these little when it's a fence and things like that. Don't want them to be green as well. So I just had a big fun doing this. Again to the front here. And this is where we need to get a indications of grass kind of crossing over us. So just in bits and pieces, just an area is make sure you doing this and that and bring it over to the other side, carried over. Okay. The test stick. Dry brush doesn't have two trees just need to be have a bit of a color and then this row, so using these greenish mix leftover in the Padlet, Trump's some color into the leaves. And. Decay to trunk as well. Coming down. So when width like that, that'll be sufficient. Okay. Give it off. And now for the house we don't want to do is just give me some darker green behind some missing apps and neutral tint we set grain, got all the tops of greens as well. We can drop in here, but main thing is just to make sure that it is significantly darker than the green in the foreground. This is just used to cut around the house. That little shed in the bag and go great. And change this a very, another little bit as well. Using the same green all the way through, get it darker in some spots, in lines for another, spots cut around the chimney. And this is your chance to just a bit of a play around, really to see what you want. Great. Maybe a bit more neutral Taenia. I'll let these trees the counter movie front and have negative painting. Here. We go. I like that. Look. Right. Now what we wanna do is just, and if you press tricks, nothing clock back here to the foreground to get just some blades of grass. Textures. Here, just a bit of a play around. And interesting thing as well as these little pose, a cast a shadow to the right-hand side. So we want to talk in them significantly. And just knowing these ones here, but the ones on the right, I'm going to just get them a little bit darker. That's all because they are technically still sun. Let's get in that sort of shadow running across like that. And so we need to do just something like that. These ones he cannot see the sort of go into the grass. Okay. The house I want to work underneath it and just play around with these neutral tint and read. And read and read through that neutral tint. Okay. And underneath that roof is we'll link that is in darkness. Here. Cutting around, innovative, cutting around these. Here, the petiole, whatever it is, the oops. It's more darkness here. The latency or the roof connects onto that side. And then we've got these windows here as well. Like that. This really does help plan things out and little bits of grass and stuff we'll see coming up close here. Blades of grass. Draw out the branches, is negatively paint a tree and little shadow costs the right-hand side like that. The only thing I'll do is just adding a figure walking towards me. And another one here. Coming closer to okay. All right, I think that makes a pretty good sketch. So I've got an idea of how to approach the actual painting. 10. Cottage Scene: Light Areas: Okay, it's time for us to get started on the proper painting of this same. And again, I'm really going to start off by getting this slope here, the grass right at the back. So I'm going to use the exact same sort of composition or 3D and would mark out this sort of medullary area there starts off around here. You don't have to be too careful, but just I guess where the house is, we need to leave enough room for it. So there we go, coming down like that. We can even change it a little bit. As we go. Later on, we'll see how we go from the center region here. And I'm going to do is actually just get this path to come off on a little bit more of an angle like that. And then we've got a comes out just around here and then make it come off center of the rod in the middle. It looks too obvious. My opinion, just right in the center like that. So we've got the path in. And now what we wanna do is just getting some little details for this fence. So hot in one of the poles here. And one of the most important things, as I mentioned before, is really this house because that's going to be really important aspect. We've got really rigid shapes here, squares and roots and stuff like that. So we need to pay a bit more attention this region. And that's why I'm just taking a bit more time to put it in here. I'm going to get rid of that tree. I feel that it's just interfering a little bit with the house. The butchers going to have to try to zoom in, but other than the reference picture, to just try to figure out how to get in this improvise and putting a bit of the, it's just going to have to zoom in on the reference picture a little bit so that I can see the roof area bit more clearer. And took a look at kinda goes on like that. Comes off at their bit of a roof. That kinda comes off to the side, I think, around to see what's going on behind that tree and make do. So this is the side of the building here. Get that in that and really try not to spend too much time on it as well, but at the same time just getting enough detail in this. We're not going to run into troubles later on in terms. Of the painting and figuring out the areas of light and dark areas. Really important aspect case. And that's kind of an area of the roof going to be here and just runs directly underneath like that. Here. I'm going to put up the roof, the chimney or something like that here, again is a bit of a three-dimensional look of these rich and implied, but not in too much detail or bolt down to that detail. So again, with that roof on the side there. So that's all kind of implying a bit of the roof and then put the side of the building. And again, we've gotta just getting these little patio here. And it's really just going to be a strip of white. And here as well. So it's going to help break up this darkness on the right-hand side of the building. Okay. And there's little walls here as well, again, with the loose with this strip of light running across the top of these walls. Important to make sure you do leaving some of those details will be there darkness up the top there, and over here as well, what have we got? We've got another beautiful wall or something like that. There's some kind of three-dimensional shape there. Who could another wall looking like it's kind of headache. Beyond that. Each in there, another beautiful wall here. So I'm not so sure exactly what it is. You can't see properly in the reference photo, but we also want to get in some trees. So that's getting a bit of a tree coming out of it. The side kind of growing needs of the roof. So just getting some general shapes in the trunk to just tiny detail there. We've got another tree coming up here. And again, we don't have to get them in exactly as the reference photo suggests. I do like to change things up a bit. I want to have a couple of these kind of negatively painted trees, Amy as well. Sure, on this side, king, at the sketch that I've done, I've actually put the beam around about here. So there's a few more trees. I've added a couple closer to the building itself. I just want to get these a bit lighter so that when we go in the background and a dark color, these will pop out BitKeeper, looking interesting. So and it gives an opportunity or so just to put some shadows, maybe running behind and that sort of thing. Just got that area of the grass running over there in the background. Little house over here that we can get a little shack or whatever, whatever it is really. So I'm going to include that here. And you can just see it over the heel like that. So I'm going to keep it pretty pretty loose. Piece and finish off this area. Roof is willed comes off actually down here, then cuts into the side of the building like that. Shadow underneath the roof here as well. Length in cost. And of course, some windows. Going to indicate that in pencil and add some more on later. Yes. That's one of the things I've trained, I guess just getting rid of that tree. More contrast between the light and the dark areas of the house, especially all these stuff is going to be pretty dark on this side of the house. Anyway. And what I'll do is start actually putting in more of these vents, hosts of good, a larger one here. And just get a clot and going out of the painting, that MOOC. Certainly to the sides. Remember to have some of them kinda going on from different angles. Don't want him to look too perfect. But as we get into the distance, you know, make them smaller. Really important to do that. Some detailing the lucrative wire running through the fence is actually true here. I think I'll leave that getting this side as well. Actually it kind of goes a lot higher. Up will mess up to me these trees. So that's one of those things like that. Now the one that's kinda coming up on an angle, then it's getting sought of it like that, maybe. Oops. No. So we got a few more, getting smaller. As they go into the distance again. There we go. And the key here is the ones in the foregrounds such as these ones here, you just want to get them people with detailed than the ones in the background. Okay. And that's just going to imply some just make it look like it's closer. It's in some grass. Cares just mocking as somebody's grass patches and things like that running through there. We've caught with the docs port of grass here, kind of casting a shadow. So we could have remembered to do that, but that's about all we need for the sketch. Nothing. I just forgot to add a nice I'm putting some figures. He is. So I'm not actually know how to couple here that I want add one here just at the front of the house. Seeing that's big enough for him. Maybe just walking towards the viewer. And then we might have a couple of HEA is well, put one here. And inclusive. I'm going to come in here. Maybe I can add another one here. And right here and figure out how to place them. Just looks looks a bit more balanced. So this one's kind of looking over to that side. Then this one's just walking forwards like that. And I think we will, I think that's it. We'll stop the squirrel mop brush to start off with. And again, just getting in a really basic colors. And I'm going to start off with This passing, things like that. The last thing we wanna do is the background here because that's going to just cut around the house and have some negative painting. So she uses smaller round brushes, just starting with a round brush is sola Mult brush. So this one here, I'm just going to have an easier time getting through these colors. Bit of orange on the roof. Maybe mixed with some English. Rid, look. Alright. That's it for, right, but just getting in that red color on the roof like that. And if it goes out of the lines, It's really not a big deal either side. I'm going to pick up a bit all both. Titanium want buff titanium. Drop that into the side of the building here just to get a get a lot wash of color through there. And I'm going to do it also for the side of the house. So we can reach some bits, polyglots and things like that. But I wanted to just leave a lot of it, especially some of these little white beads here. And just so that we can use them as highlights later on. Also going to be using some of these night was yellow to getting these blocks whenever they are. Not sure what the hell. He may be, beautiful, orangey sort of color mix as well. Like that. We've got these kind of building over here to the left and going to get that in, kind of roll a color to like that. Okay, so let's have a look and figure out what we're gonna do for these trees that have set Greene, who do a good job. Very light wash of sap green. So that we can make that negative painting effect loop more vibrant and obvious contrast more later on. So just popping in some colors like that. And we can even go into the background and just adding very light washes of green areas as well. And let it just blending day. And that will just allow when we go and do the proper background night, Ron. Just allow it to look. Have a few more bits of highlights in a lot of Han, lots of green. Say just a bit of that here and there. But I do want that background to be significantly dark. And the rest of the painting, It's just going to contrast with this house a lot better if we end up doing that. Okay. So fun dropping in some of this paint here. And I'm also going to just won't even be able to drop in some bits of blue as well. Tiny bits of blue to sort of clay and gain. Okay? And I'm going to move into the foreground now, and this is just going to be set green. So moving here and then dropping that set greening, just where the horizon line is. Then go to figure here, we've shown a color round brushes per beat, big pink for that. We can use the point still. This K. Shopping to a calligraphy brush. Let's just try this out. Do tend to swap brushes quite off. In painting, it's not picking up enough pediment. Go back to the brush and do bit of cutting around these loopholes as well because I do want them to be a different color. Kind of ground you should color anyway. It just get it in. Sap green is a bit of this emerald green as well that I've gotten going to drop some of that in the foreground to vary the tone, especially needed to the front and doesn't need to be DACA. Slightly. Meter is k. Then green down the page, please. Fantastic. Okay. Then dropping some doc, it's green here. Degree on the edges like that. And that's just a bit too much buff titanium. And I'm going to use some of these areas of the path as well. I'm just mixing some of this green through here, leaving it's wide, it's two. And going around and getting that coloring for the right-hand side of the painting, such as more of the sap green coming down. And I know it looks like a bit of a mess at the moment, but by the end of it, it's going to look like something a little more put together. Remember we're approaching these steps and we need to get all these lights of ABA using first before we can even think about some of the darker values. We have to have a nice mix of all the tones, range of kinds anyway, watercolor. So this looks like a shrub or something in that home at it. Okay, testing will arrive that looking pretty decent. So just having a look at what we should do next, I'm going to give it a try first. 11. Cottage Scene: Dark Areas: And what I wanna do is just work in that background that needs to be darker than the rest of the painting, almost like that color there. And picking up a little bit of purple to just play around here in the background. So I'm using some purple near the house, especially because if you notice the root is warmer color. I just want to get something just a bit more dark and cool at a time. To contrast them with the roof, I'm using a flat brush here to do some of these cutting around, which really helps. Thanks things easier. The chimney or whatever that is in there like that. And this bit here, I just want to darken that down, create a sharp contrast like that. And that's looking good. Now some of these darker bits of green, this is some emerald green that I've called. I'm going to go through and getting these darker bits of color and notice how I'm skipping bits of the paper as well. So I'm leaving some bits of white in some DACA bits and pieces to, let's put a little bit of this green up the top left-hand corner. More of the purple. I think we wanted just down here where we have these and the speed of the house here and the bottom. We have this heel is there to talk in that slightly cool infinite loops going to fire. And so the house just have to shift these B roll. Then cut around the roof. There. It's getting small. Purple, maybe bit of blue, cobalt blue working through as well. Okay. But it really just remembering to leaving some bits and pieces of these previous wash on the page as well. Now I've written this slide here. I'm going to do some cutting around with just using some different greens. Ran the trees and do some of these kind of negative painting with my flat brush. Cutting around the roof. These house carefully and deliberately as well. Just kinda guys tears turn the rest of this lowpass area Here's just going to be in darkness. What will getting some greens running through here as well. Underneath these tree here. Some more darkness. People water to Dogg and leave a bit of that trunk too. Doesn't matter too much. Because we can go ahead and get that in Dhaka Brown later on. But the main thing is just cutting around these trees and just leaving the negative 3 painted. That shape is going to make it look a bit more interesting. Later on. Say, I'm going to fund these pot. Okay? All right, and I'm going to stop working a little bit on the front of the painting now. And just getting some light washes of brown, a bit of English rate. To these little fence posts. Leave a tiny Hall on the sides of these posts as well. And very light wash of Brown like that. And keeping in one, the light source is coming from the left-hand side. So we want to just create the highlights on the left side of these pose. Okay, so that's looking pretty good. I'm going to play around with this. Just a little round brush that I've messed up a bit like that. Because this is just going to allow me to try to getting some little areas of shrubs and bits of grass sticking out and things like that. Now the thing I tend to use as well as in little fan brush. And I can do the same sort of thing, really. Keeping some indications of these strands of grass and textures does help. I'm going to draw a little lines here as well. Nice room. Important thing to do is just to vary the restaurants makes some of them DACA, son-in-law time. So she knew the foreground. We're going to get some kind of dark strokes running in here. Even coming into the why to areas like that. Too. New shrubs maybe on the sides of the building. Indicated by some of these as well. The indications and others, shrubs may be running just across the fields and things as well. Make them small enough and varied as well. Like that. It's just viewed up with new details. And it's kinda make a difference. In the long run. Right? On this house. Some darker paint. The knees nature of tin with some ultramarine mixed together. Well, I'm gonna get some of this area underneath the roof here. It comes up to the event here. And let me here. And basically this whole area underneath and it's just darkness. To get more complicated that really apply that they some details and creating this and really not struggle was anyway, I want to get a soft the shutter is running underneath here. Coming into the side of the house. Denise. That's about all I'm going to do, something like that. Then. Grades and looking need to do is just kidding. Darkness here. Is that a tiny shadow kind of His coming across? That? Oops. Let me just try that again. Like that. Maybe you some kind of directional lines and textures on the roof. I don't want to leave most of that dark color. Sorry that like koala. Okay, so let's go back into the side here. Newton meter per mole. Then we'll be good. And again, that's, this is why I'm leaving it at some of these white areas in here. So this little How do you hear are going to join that on. Just as with the trees and stuff here, leaving it pretty much white. And I'm just a tiny highlight it to indicate there's something going on. Okay. And that's mostly what I do. Mean. We're just going to get these sonnet building probably down and some darkness in here too. Of that wall. Here is getting in some indications of details. And you'll get these windows. We can just dropping paint here to outline windows. That it's actually number one here. I'm going to put the full okay. All right. We put is some dark areas. Slightly larger, flat brush, round brush, these posts. And maybe a little shredder running a curse assemblies as well. And the smaller brush then I'm going to use to connect these fences up with some neutral tint. Gonna get some water on this brush. Okay. Some colors on this, on these figures. I'm going to go with assuming for this person here. And will the other one Go with some purple? And this one here, I think I'm going to go with a blue moon as well. That great. In some tree trunks. These trees, she was using a random brush to indicate. And that's going to contrast a lot in your cart is kind of really dark paint running through. Shouldn't need to outline a bit more for the House to use to some doc potatoes. And the windows sues. And the solids in the house as well. Haven't really done anything, but these will usually just a now that we've got an 82 orange who faces the hints or something like that? Yeah. Okay. Great Lakes. And going into the interior dark color. Is this person can be walking in front here. Kinda shattered as well for them. This you think it's potent. Can't just be consistent and lot of source keys and little smaller indications of these blades of grass just layering over the top and some little bit darker than others. To create a more interesting range of values. Especially near the front of the painting. Here, we need to getting just a few strokes and things. Darker spots in the house just indicates some windows and things may not be much in there, but it does help later on when it draws. Spatially. Painting is really coming together. And what I've done here is just added some little trees going up into the distance in the background. I thought that would be interesting just to balance out the right-hand side, but 90 something could be holding on to get the boost and just come in off to the side here. Into sort of beckoning to the sun. Here we are almost done really. Just going to add in some little highlights, bits of goulash. That version. Just to bring out the domain areas. The figures, especially even on the house. Movie, had some birds finished. 12. Valley Scene: Sketch: Okay, I'm going to start with the sketch of this one. I thought it was an early interesting looking same. We've got some dark and mountains shadows being cast. The left-hand side of the building is kind of light coming from behind the mountain, from the top right corner, sort of going over to the left-hand side. So let's get in firstly the frames. So I'm just going to draw little area here, just math it out like that. And I don't want to do is think about what do I want to change in this particular say now I know I need to simplify things down, but I really like are these sort of indications of houses and things here just in the, in the background. So I'm going to get in that for us and line the edges with the houses and things finish. Got a little shacks and things like that. But very, very subtle. Some areas that just little squares, basically, some common off on an angle like that and turning into smaller kinda of buildings there like that. It's a shadow being cast even by other buildings like that. Pretty simple stuff. It's nothing too difficult in terms of the shapes. Just look at reducing them down to really basic elementary shapes like these. Main thing is just to get in the rooftops. I think that makes a huge difference. So little bits and pieces here. Larger section is building here. At connecting on there. Then you know exactly what it is. And I'm going to zoom in to take a look just in these little indications in like that, some smaller ones here as well. You can barely even see that. And we'll start getting in just this air of the mountains. So one that's coming in here, then it just sort of trails off. And I also want to reduce these down a little bit. I don't want them to be too big. I'm just getting these large amount and on the right-hand side here. So I'm just getting that one to finish little bit lower than it really is. And this one to the left-hand side as well, just finish that off a teeny bit teeny bit lower. What I like as well as just some of these mountains in the background which I'm going to get in with a bit of wet in wet work, essentially indicating them in the background. Nothing too difficult. But just to give these hiding a sense of depth, I feel like I need to get in some males is there in the background. So just taking a look at the composition, and that's kind of looking all right for me at the moment. One other thing I wanna do is just getting a few little trees. I remember keeping that perspective, keep these trees fairly small and the trunks as well, like that. There's another tree here next to a. Sure what it is. It's like a little shack was something here, which we can get in like that. And it's rock and things and shadows being cast the left-hand side. So here in the foreground we can just get into it a little bit more. A little bit more of these kind of rocks and things. I know there's not really any here, but I think this is really going to help. Another thing I might do, just taking a look to see whether we should do it or not, maybe just added a few additional trees. I'm going to add in a larger one here by the side and get it to come a bit closer. So just a bad here. And like that, we can do one around here as well. And then finishing around the smaller trees here in the distance like that. I mean, where you can. Okay, So looking pretty decent first sketch, I'm going to go in column l. Mean my palette out. Okay, so just getting a bit of water and spirulina and Lou there similarly in blue on the palette like that. I don't want to experiment with as well as just getting in some orange awesome. Loma Colosseum was well before I forget, so kind of that brush a little bit and I'm going to get some yellow ocher. And here the ICA and some orange like that. Okay, So just some warm colors will just getting a little bit of warmth here like that and carry that down the mountains and even needed to these trees here. Another thing I'll do is I'm just going to get in even the rooftops in a sort of orangey color. And that ground, we can go with a bit of that orange and a tiny bit of the sap green as well and mix them here. I thought this might be an interesting kind of warm mix of sort of green and orange. So let's give that a try. But if you've logged in there and before I forget, Linda and into the sky wash up the top. So just some, certainly in blue in the lecture you got in some of that yellow in there accidentally. And it's not a huge deal. I'll see you for getting some purple with purple in the sky too. Okay. All right. Right? Taking a look, how it looks. Blue in the sky. Too much sham, the yellows, it's blended up in there. But general sketch we're going on, I'm going to try to get in these mountains in the distance with a bit of neutral tint, tiny bit of brown as well. Just drop that in. I click that if there's some sort of went in with mountains in the distance, and we hope in a bit of cobalt blue in here as well. Just decaying some of these distant mountains, just an indication like that. Let it melt in there. Okay. I think we're looking pretty good. We just got to wait for these to dry. I'm going to use a dryer to speed up the process. Here. I am going to start getting in these mountains in the foreground. And for that I'm going to be mixing up a little bit of this sepia and also got some English red here as well. As picking up a little bit of that. The mix that down with some ultramarine as well, I'm going to get it darker and the right-hand side. Okay, So a test that out then that's looking good. And it has to be pretty dot. This is the darkest area of the painting. And then here I'm just indicating the sides of the mountain like that here. And maybe teeny bit in this mix as well. All it's wet. You can really just play around with things and see that we're finishes off just to rant here. And then what I'm gonna do is just a tiny bit of negative painting. I can just use a smaller brush to finish this off. Smaller flat brush. So I'm going to cut around some of these buildings. So I'm picking up a bit of this same color, mix together. Blue, neutral tint and a bit of sepia. Let's go down and cut around that tree here. And then we've got these houses as well, which we just want to leave in some color on the roof. Lots of Calvinism, the roof anyway. Okay. Fantastic. And we can do something similar in these houses, just on top of where they are. Here, here, here. And the left side of the mountains. A lot of lives us that we can just going with the law to wash a kind of a brown color, maybe ocher on top to hear. Just wanted to get more of that. H like that. It's great. Beautiful blue into the left side of the mix here. That because it is dark around that side. And with all this area here with the yellow just going to dry off the brush and just getting a bit of dry brush strokes on there like that. So I really don't want to mess around too much. Just having a little play around and go and getting some colors for the houses and things now the trees in the foreground. So it's crowded bit of yellow. Yellow. Just want to get in. Yellow for some of these trees. And it is sticking out and be here, for example. We should make multiple color behind here. That yep, yep. Okay. Just won't for these trees. And then tiny bit of green as well. Popping in some blue. I'm going to get a blue paint should do the trick is to thin wash with blue paint. This indicating some trees. Doesn't have to be anything special and full the houses. I'm going to just try and get the bottoms of thing, pretty dog like that. Maybe team be dug up. As the quanta at the bottom. Just implies some shadows. Okay. And then like rocks, some shadows for the erupts as well. Play around with these buildings, shelters, I think that's working quite well. We've got some trees and as well here, which we just doing a bit of them, would've gone that great. I think this will make a nice composition for the final kind of painting. So great and give that a shot. And the real painting now. 13. Valley Scene: Painting: Getting started on the sketch for this one and I've got the reference picture as well as my sketches always side-by-side, so I can refer to both. And what I'm gonna do is again, just start off really simple. Brian and I'm here getting that little here in the backgrounds. Houses kinda starts so something like that. And I'm going to be playing a bit more attention to the details here in terms of the roofs of the houses. And I didn't I didn't sort of look at it. Didn't spend too much time in the other one, getting in all the little bits and pieces, but just take a bit more care, I think with this one and indicate a little bit more detailed than usual. So just getting in, again, the roof of this building, the sod of it here. And really the soul areas in the dark shadow cast on the left. We've got a little kind of building just a bit here. Don't know what it is, is rooftop or something like that. So little bits and pieces we get a square just over here, the rectangle indicating again another building off in the distance. There's trees and things in front of these buildings, but we just have to make do. Some of these will have to also kind of improvised and indicate the CO, rather than simply trying to figure out what's going on. This looks like a kind of fence or a wall or something, something like that. And lots of new ice. And just getting in some little bits and pieces that you don't really need much to indicate. A house or a little building there. But just talking in the distance. Another beat here. Also, some little things here, not sure what they are, just sort of lighter areas and things like that off in the distance. And just a little town really. And I'm going to get in here at SRI is running through in the foreground. Here. The trunking as well, indication of that little trunk like that. Do you guys one tree and there's also another tree just around here. I don't have everything in the exactly the same place as the reference photo. I do want to change it up a bit. Here, maybe. And shift is little shack. And I'll create another tree history here, closer to the front and get a little error if the shaft. So we just see if we can tell is that something like this? Yeah. Okay. And then we've got rocks. It says shrubs and things like that, which actually quite important. I'm getting another country here. In the front. You're broke or something like that. Here. Tree around here to anchor that to the ground. And another one behind some smaller ones as well. I kind of thinking is a good idea. Small one here, bringing that to the back and helping to just create a little bit of a contrast. And I'm not sure if these are kind of hay bales, something like that, but there's all kinds of bits and pieces near the house. And to breathe in. I've kind of thing. There's always a good idea to indicate in K and tell the firm is just little undulations of land and that kind of thing running across here. K. So we're now just going to getting somebody's background trees. And I think what we'll do is we'll do a little bit of negative painting in some areas. And some of these larger trees that sort of stretch up. And some smaller ones and appointed trees that they kind of come out. I'm in front of the mountains and I think it's important to just get some lighter kind of areas in like that. But I'm going to start off around here to get these kind of mountain in like that. And it's kept the other side of the mountain and kind of going up like this. Okay. Finish it off around here. That little bit lower than the reference photo. Just felt that I'll want to be more sky in the end to get the second mountains in the back as well. So yeah. Mm-hm. Let's just have a bit of fun with this one coming up to the side and up into the corner there. Okay. And then in the background we have some other mountains. So just rethinking how I'm going to place these secondary mountains. I think I'm going to change the shape of them a little bit and have it come out a little bit more on that side. And on this side, we just have it finish off. And a little bit lower. Case I Something like that. The leave these mountains actually going up. The, we can pull kind of dominant over the sum soft the mountains in the back. Like Hey, maybe get a lot coming up here, like this. Okay. And testing. And really almost just about ready to start. I'm, again, I'm just indicating some of the trees in bits and pieces around here that would be suitable for negative painting. If I choose to go ahead and do that anyway. There's a lot of darkness and trees and things in here which we can indicate. So we are done with the sketch. And I'm going to go straight in with a mop brush and get in a little bit of orange. Skip this brush, kind of clean up first. Tiny bit of blue left on their bit of orange and a bit of yellow ocher. To essentially do these mountains. Just want to get a Walmart background layer on this area of the mountains and even running down through here. Remember this is just a preliminary sort of lot wash that we're doing. So I'm not going to write make too much sense. Just yet. Bit more water down the bottom here. We let it do its thing. And we can't just kicking around these trees. I'm going to paint them in a different color, a bit more green. And I'm going to get into the sky. And for that I'm going to cheat a bit of purple and just get rid of that orange on the brush first. Group, purple. So look similarly in blue. And I want this to be really pretty light. So I'm watering that town and trying to join that on now with the mountains. And like this. But more slowly in blue in here. That more water. Join that on that kind of do its thing. Lift out some areas. Lots of clouds, that sort of thing. Just suggestions of lata clouds as well like that. And what I'm gonna do now is just getting the lights kind of wash for these mountains in the background. Just a bit of wet on wet here in the orange sort of sections. So picking up a bit of cobalt blue using a flat brush. And I'll mix some purple into it. You can also mix some red as well into it. Too much. Just tell it down a little bit. And it's just going to get an indication here, these mountains in the background like that. While the paint is still wet. I've got a great opportunity to do this sort of thing. And I'm going to be careful as well because I don't want to get all of it. These collarbone and leave bits of orange in here as well. The case and light coming off pouncing into these mountains here. Green, there. Here we go. We're just going to be this mountain here in this side's really just indicating some soft Mountains running through the back. It's only want to do this is probably a bit too and spreading a little bit too much, but leave that to do its thing. Let's have a look here. This green we can probably just getting here, decayed. A little bit of that green area. It more blue in here, have a darkness in this sorted section. And so that is looking good to me. I'm going to start working on these trees here. And going to be getting in a little bit of yellow in the trees and mixing in some green to so basically just getting some colors on and remembering to paint the roofs in yellow as well. So I'm going to use Naples yellow, actually. Just a lot. Washington Naples yellow over the top of these buildings really can get them in. And just one stroke, this will make it a lot easier like that. Make sure it's pretty light. The way that I'm doing in all. Honestly just be a lot and even. And then. I'm just getting these trees on top in green and a bit of yellow ocher as well. So we can do some negative painting later on. Really like I said, the stage, we are not concerned about details. We just want to get these lighter collars on. Lighter. It's going to be cutting around. We do mountains. So we're bringing this yellow, yellowish, sort of call it down the page. Just grabbing the viola. Or it can be seen that in with some sap, green as well. Still pretty light down to the front runner to let that dry out the back k bits and pieces of things going on there. And it around them doing it. Brown bit of burnt sienna, maybe some red in here as well. And have English read that only nicely, like this, lead a bits of white and things on there as well. It's not a big deal. And that's your first wash pretty much done. So we'll leave this to dry and mature, going to use my hairdryer to speed up the process. So the papers, moralists dry and some of the water soaked through. But the top layer anyway, we can go ahead and start working on that. I had a bit of an idea to add a finger, couple of figures, maybe walking up until the areas. I'm just going to indicate a couple here. Increase is having walk like that. Just to give them everything a kind of sense of scale. And you can get grabbing myself. The flat brush I'm gonna do here is I'm going to try to get in these the rock and I'm going to use combination of some of these. Brown, this has actually been raw. Umber. Let's give that a try negative role, umbo add some blue in here. This is a little bit of ultramarine. And we're just going to getting these mountains here in the background. And I'm trying to be kind of refer in this section if I can just Get more paint onto the brush first. And what I'm trying to do is get some some dry brush strokes on here. The reason why is I just want to indicate some areas of texture on the rock. But at the same time, making sure that I've got a nice sharp edge in areas too, but varying these edges a little bit. Okay, great. K. And K is down the bottom here. I'm going to do a teeny bit of cutting around some of these trees. And I'm again, this is just some negative painting work doing all at the same time. Like that. Blue in there. That sepia. Read that. Okay. And soap over to like a smaller brush, just a little little flat brush. And I'm going to do a little bit of cutting around some of these buildings essentially just remember the roofs and that kind of thing because there is actually a dock area behind and just getting in some of those darkness because that's going to actually bring out and numbers. And we have to be quite careful here. Small set pain coming through like that. Didn't have any true tint. To draw out these areas of the diverse and more, more contrast like that. And actually make these buildings as well. There's some darkness which I'm going to get in and clean this the shadow and kinda being caused to the left. So just try to follow that. Madison. Indications. And go and do this area now with a bit of green and some yellow as well through here. Oops, Come around this roof. That comes out there. I'm really just kind of joins onto these two in a way. Just lift that off and tree. Okay. Soft and some of these edges, if you want that, continue on with the side of the mountain, then it goes up a bit further. And red Sienna running through this section. Green here. Again, just cutting around these little houses at the bottom. I'm just trying to indicate some more details and things really hear that may or may not be the K could be a halves to the guy. I'm just getting some of these shadows in and probably have to redo the house as a bit lighter to get them to stick out more. I'm actually thinking through these section. I really want to read do that by going in just making it simpler. I'm going over the top with some of these neutral tint like that. I think it's just going to look better. Kind of matching the other side. Now we had decided to go and do a bit of negative painting, but Matching it off to that song. I think that's kinda make it look interesting. And other thing you can do is lift off some areas here to just imply, again, lots of air is all of the trees. So just grab your brush and just lift off of the paint. That. So it accomplishes a similar type of effect as well. So something like that. Okay, so just having a loop back and seeing how these doing blend area 20 bit here, some decay, some trees and that kind of thing. And you've also got some kind of undulations and areas in the mountains two, and we bought one, I just indicate tiny bit the background. Okay. What else have we got? Sort of foreground was what don't want to do is this one here, this little house, shackle, whatever. And it's just some darkness underneath side using a flat brush, round brush, getting a little bit of that dogmas. And below like that. Getting in a little shadow costs to the left. And we've got these trees, which interesting we want to get in and suggestions of them. So just picking up a bit of this yellow ocher and try and talk and down some of these. And left sides of the trees is actually one here as well. I'm going to give this a quick chore headfirst, move balloon and a tiny bit of neutral tint. And the brown through here. And I'm just going to getting some indications of some trees, DACA, kind of trees in the foreground and running through the painting. And that is using a round brush for these hoops. I have another one just behind it. We could have another one here as well. Like that. Legal and trunk like this. You'd have cutting around the back. Indicate that there's one here that I forgot to put in that you need some. Indications of shutters and these kind of rocks. You shouldn't going to also indicate shadow running over to the left-hand side and keeping it and make up some of the rocks and things. Here the foreground, bits and pieces. You draw your brush off, that helps as well. A couple of figures here. Just going to get them all in the dark, a comma, two shadows and into the village or town. And you just want to outline a bit of the details on the houses. Now. There's some areas underneath the roofs, especially that it's embeds. And I think that is finished. 14. Country Scene: Sketch: All right, time to make a start on this little sketch here, really like this. Same because just, just these trees, these sort of darker trees here in the front. But I did feel that it looks a bit bare to the right-hand side, and I do want to change that up and add in a little house, maybe some figures here as well. And it's a fence that so have a look. Let's give it a try and see if we can make the scene look a little bit more interesting though I do like it as it is. So we're going to get in the order again. Okay. And notice that this photo is in the portrait orientation. We're gonna have to change that around a bit so that it's going to fit this sort of landscape orientation. And we've got here, so you're getting just the indication before ground and around here because I do want to make sure there's enough sky to put the mountains and things in the background is going to get that horizon line in around about here. Okay, so, right thing is that there are trees in sort of smaller indications of large areas of trees and things like that here, which I think great add to that perspective. And then in the distance we've also got some mountains and I Want to get these in nice and smooth like this. I want to make them just a little bit more up and down rather than in the reference photo, which just looks quite flat almost at the back. So just one thing I want to change ups, pop that in like that. And I've got an area he sort of runs behind trees and that's where these darker trees are. So we're going to get in this indication of this one here, I can add large tree and getting the trunk, tree, trunk here like that. And do a couple of shapes here as well. Just draw some kind of roundish shapes like I'm doing at the moment. Keep the shape quite irregular. Still around this size is not completely round, just have some bits of an angle and some small imperfections. And I think that just makes it look a little bit more convincing rather than enjoying exact sort of circular shapes. So put in some smaller ones, indications of some smaller ones in there anyway. And the shadow is great. I like swiss chateau running to the right-hand side. So get a bit of that in indication of that. Anyway, and around here, I do like this sort of indications of crops or something. So just again, some of these lines running around in the background like that. I think that should do the trick. So maybe here as well in the foreground. Just want to get in. We have this section here like that. Just so lines running across the page like this. And maybe we'll expand on these bead here. Yeah, that looks better. Just kinda coming forwards teeny bit more at that. And and what I wanna do is getting maybe a little house around this side, so it's putting a roof like that. Okay, the bottom of the area, the House side. That, oops, forgotten. The shadow is actually running to the right hand side, so I don't want to get rid of these rays that quickly and then move in normally like that and just have it be and the bottom of it will be darker. Shadow running to that right-hand side like that. Number thing I want to do is maybe adding a little water tank with something next to their house. There. Something like that. Smooth indications. Is he sort of pose that are running through key to which decay. Let's have a look at that kind of makes sense or not. I'll probably have to make these a little bit smaller. Okay. Then getting another house like this, just sort of facing this way. Let me go. Again in blue door or something like that. It's got a couple of them there. Okay. And just getting some indications of some fence fence areas and things like that, then do like this air, these sort of indication of some crops and things growing and maybe some coming across there. And we've of course got these kind of foreground. Yeah. So that's sort of does it for the drawing. Let's give this a try. I'm going to go into this guy. Be a bit of orange. Orange. I'm just in the horizon line here. Just didn't warmth won't come to school ever with those mountains up. And for the top, maybe picking up it would have mixed properly and it be cobalt blue in there as well. In that down and Pete want that to be fairly light. The entire wash load to dock. And let's just draw for DACA lotsa afterwards. Another thing you can do is play around with things like clouds and get some shapes like that. If you wanted to just sort of play around with how it looks. So just right here with the mountains, I'm going to grab some blue for youth. This cobalt blue drop that in you to waiting width here. Some places anyway, I'm going to leave that for now and shift to a smaller brush. Flat brushes and 20 flat brush. Pick that up. And I'm going to go ahead and, and kind of cutting around here. Bringing these washed down the page. But remember to of course cut around the roof, top of these houses and set brain. Mona sap green will be spits out. I'm picking up light wash of it. However, some of these trees like that there. And then hit those layers to mix together. And I'm seeing the mountains and the backend him of code. So let me set during its just mix them together, bring this down the page. A flat brush. Speed this up. That DACA, that, okay. And go here to the foreground, some yellow. The yellow here, maybe some sepia as well. It's a bit much that you make do. Okay. And while we can, and I'm going to, this is going to work a lot better on the actual cotton watercolor paper. And grab a bit of paint mixed in with some neutral tint and just outline some of these crops. Weight and wet nuclease. That mean for you strikes DACA status and blue into the green if it's too much. That. And importantly also in the foreground, you do want some of that colors well, running a cross like this. For some other crops which are actually closer, see indicating some running like that. I'm going to leave that as is. And for the houses, just some neutral tint. Think he's going to be fine. And a bit of blue ocean marine dot color here. So you get these bottom enter the house. And the right-hand side, like that. These big water tank would have release this side. And also some sort of crops and things in the back which I'm not going to all the hole too much with. Okay. And get this dry. I'm going to play around with these.com is now ultramarine blue. Let's get some ultramarine blue. And burnt on here on the side as well. Teeny bit of these major obtained bit more blue in this mix. And maybe you didn't green. Okay, so some of these trees really load to be dark and 0, indicating that Ron here. And then just being careful also leave some areas on top. Some highlights of green to the sides of the trees as well, doesn't look too perfect. I also want to round. So just getting these shapes. And that's what they are. Just very loose shapes. It's also the sort of power lines and things here which we can indicate that I'm not sure whether they will actually work and and really good way to just test it out like that. Okay. All right. Got it behind the trees. I'm just looking at k bit more darkness under the house. And the shadows running to the right-hand side of the house as well, just on the ground like that. And you can even do this for the power pose to new indication like that. Detail them a bit more. And then these trees and just indicating that detail, trunks, this dot this using kind of neutral tint here that you guys some shadows running to the right-hand side of the painting. And thinking we probably need to add something here as well. Maybe just a bush or a shrub in the foreground. Just behind this area here. Oops. Having some of it is dead grass and things just sort of come in up here and the hairs and the foreground to test this stuff out while you can give it a try. Now even if you want to try putting into the lodge a tree can do that sort of thing. Pick up, grab a rail, a round brush. This is just a larger round brush. Pick up some brown and neutral tint, just a really dark color. And it is coming from the sun's. Give this a try. Tree coming up towards the sky. That k bed. You can even have one coming up through here. That undermine that actually makes it look a lot more interesting. I thought it would it being too intrusive. But I really don't mind how that looks. So might actually incorporate that in the final painting. It's worked out. But if you tend to add too many of them, get overenthusiastic. And that's the sketch down. 15. Country Scene: Painting: Okay, it's time to get started with this one. And this is water. This is a composition that I lighten the sketch and I think I'll really alter much of it. So we're gonna get started and put in that horizon line first, which really is just smartly below the center of 100 page. So skip them in quickly like that. I've got the house actually in here and I think, Oh, put that in first and only our way into lighter. But I'm going to get again, she's getting that roof like that. Hello part here. And so you need to imply house bond or something like that. And then we've got another one that just comes up like that and comes down. So it's really all we need. An indication. The house This want to just get in this little water tank or whatever, whatever it might be next to this. Well, it's pieces work into it. And even we didn't put another house here that wasn't here. The original reference photo. Oh, sorry. In the original sketch that I've done. But just to show you highlighted point that it's really not too hard to add in and change bits and pieces. And a lot of these kinda all connected together and the shadow is going to go all the way to arrived onto the shadow so that it comes forward a little bit like that. So you know, in the previous sketch, I had the shadow going more towards this side, but I think having it come out a little bit towards the front is going to give it a bit more dimensionalities. So it's enjoy that little change. Most of at least a little power pose. Heads. Having these kind of run through here. And just something different and they're not really there in the reference photo, but just something different. All right. What we'll do, we'll start getting in these little tree. Was the tree religious over here? And the trunk, they're good. Another tree to the left cannot be handed. That shrunk a little bit further behind. Can always move this one forward if we think that it's too, too far behind. Another one here in sort of around the same distances, that one, we can have a couple around here further back in the distance. Yeah, really in farm background, there are little trees that we're going to get in. Also. Because it just important as the ones in the foreground. Like the ones in the foreground, look a lot logic. If we've got little ones in the background, we're going to get in these branches because we should be able to do that pretty easily. Lighter. So I'm just going to get some of these rows in a firstly, just coming down here in the foreground, area here, just blocking that in. I am getting just these little kind of guiding lines like that, rose, crops and stuff. That's correct. And you'll get the hang of doing this more as you keep practicing. And basically have these ones directly he is strike and then slowly flare them out like that. Kinda get larger and larger to the end. So I should be kind of grown answer here. Okay. This area here in the front. I add some lines as well, just going across, which we'll do later. I'm thinking whether we want to have a tree here. Well, not maybe some of these push kind of area, small bushes and things growing around the foregrounds going to help. I think that's, that should do the trick. But want to get a kind of fence or something coming across occasions with fans, but maybe a figure just here to give it a sense of scale. Just thinking maybe he's sued them to move into doing work. Redo that. Kind of holding a tool or something like that. Give this a sense of scale. Then whether we want to have one hears all I don't want to over do it. Think I'll have one just here. Too big, too big. Make them smaller. And the last thing is these mountains in the background. So I figure how far we want to make them go up. Haven't come down one, come down like here. Come up again. And actually maybe come up from a rent bat. Here. Come up again at the end, like via something that should do the trick. Okay, So that is the sketch done. Let us get started with the painting. So I want to make this guy a lot, lotsa. In the actual sketch I did before I realized on night the sky are way too dark, so I'm going to just try my best to make it just a lot as possible. And we're start off at the top through in blue. I'm going to be to Cobol in there. And we'll drag this down page, please. And I didn't do so well three here and a bit of purple. Drag that down and share it with the mountains. I'm going to stop putting it into the orange and red warm and kind of colors in here. And just with the mountains begin. Ok, that say, skip that in because I want a soft edge, nice soft digit for that. Coming up and more blue in here. Drop that in. K. Fantastic. Color in the sky was going to put in turn made of neutral tint and purple. Some clouds, clouds, shapes. Soft clouds. And I'm just blending. Oops, too much to Doug, shown to lift yourself quickly. Okay. That'll do. So we'll just leave that. Now, what I want to get in here is dark a color for the mountains in the background. So I'm using a bit of purple mixed with cobalt blue. Case. Trump that in like that, we're going to use flat brush actually make it easier. That great. Okay. Pretty dark or in a coffee, sort of consistency. And really cutting around the houses needs to be done. But before I do that, I'll just get the sliding as well. Say it doesn't end up drawing on me. And having a look at what I need to kind of painting here first. Okay, great. Then he sort of comes up again like that as well. Watered down this sort of bluish wash. Let's grab the flat brush that the smaller thing here is smaller flat brush. And I'm just going to cut around. But also adding in a tiny bit of this green is different types of greens. I've got sap green and a bit of emerald green. Then I'm going to play around with here, cut around the houses. That too much water. I'm just remove some of that. Here we go. Get that nice sharp edge with the paint hits the roof of the building. Really important. Okay. And so you know that you really have much going on down here, so we don't need to really worry about that. So we just blend, get that to blend a bit here and move down into the foreground. Just want to gain some lots of green here for these trees. Okay, Moving the screen down and just using some sap green. And I'm going to make it a bit of yellow ocher with this sap green as well. Picking up a lodge, a flat brush to do this bit. Now I'm going to just go over and release and ties section here. Left-hand little bit of a hollow and left sides of these trees too. And you don't have to get in on every little coloring here. We can just leave it a bit of water on the paper if we need to. And maybe good. And doing all these wet into wet makes everything at combine to give us so it's really important aspect. Otherwise, you have areas that just stick out and loop. And Ted funny. And I haven't cut around the figures very much. That's not a big deal. I'm going to get adequate doc anyway, lights on us and getting a homeless washer, greenish greenish, yellow sort of color. As we get near to the front, I'm going to add some burnt sienna. I think that's been sienna. Okay. Just a bit of darkness here at the front. But also mainly just get that yellow at how Weka running through like that. So you complete the wash. That haven't been the school blend a little bit. Put some of these darkest brown up here. Some separate it out. The foreground. I don't like this effect here. But what we're going to do is using a small round brush, we're going to get in these little rows of detail. So picking up here a bit of green but a darker green. I think this is emerald green. I can just mix a sap green, any sort of green really, that's DACA. And then go ahead and give these who rose. Try. Doing a little tiny bit darker. Just make sure when you go into this area that the paint is thicker. Actual paint that you've got already so it can't be too much water in there, otherwise, it will just bloom and we'll look. So good. Case. Can use once. So just getting that, pop that lining, hold the brush at the end. Like what I'm doing is low. That really helps you to draw things straightened and remember to use your arms out, use your fingers to draw these in. I know it sounds funny, but I'm moving my entire arm. There'll be some areas that I'm kind of drawn already. Don't worry about that. Just let it, let it be. Okay. And of course we just want some in the foreground to couple of rows here. Doesn't have to be much. Okay? Bit of neutral tint. Now I'm going to go and getting some of the dark areas underneath the house has to be some kind of thick paints. Again, coffee color consistency. And your skin get this dark area as move. The shadow is going towards the right side of the house. So you can get darkness here. Glad. And shadow that runs to the right-hand side there and then get the swelling here like that. And it runs towards here. He said, whatever that thing is, that side of the house is going to be eliminated. So thinking probably a shattered kind of running across the side here. And this little thing here. Well, that you should do the trick. Before I forget I was getting some colors for these little bushes. Really just going to do a light wash of green on here. Very light wash of green here. It could drive a bit more on these trees, going to pick up some darker green bit of emerald green and mix it with some neutral tint. And just try my best to get in some. These sort of talk as shapes and to indicate trees, dry off the brush and liberated if you do find that it's too much. And but really importantly, you just want to leave some of those previous washes on. It's going to make it look a lot more interesting if we do that. So I run that and we want to get in these trunk as well. Just going to make sample-based neutral tint and burnt umber for these like that. Really dark at the base. Here. Join that on to the leaves. And while we're at it, we'll get in some of these power lines here running through the back. Simple, the better, say k. Let's have a look at how we are doing. We just want in getting again that loose shattered come into the right-hand side of these trees. Like that. Movie would be towards the front. Like that. Senate, the House is actually equal to modify the shadows just a little bit to come forward. Like that. Darkness with the figures within this guy in here, in the foreground and this one here. Shedder of not done is just getting as trees and things. He in a distance. Really important as well. Just the way these power lines and things on. Also behind the houses. To the right here in the foreground. And the grass and that sort of thing. Dry brush. This. A few birds flying around. And then the rest is just some finishing touches. We can add even more darkness underneath there is at the roofs like that. Decay some windows and stuff. Really almost done. Okay. And I'll say this finished. 16. Class Project: For the class project, what I want you to do is to go through the demonstrations in this class, pick out a few that you want to paint so you don't want to give this one a try. This one here. Try to pick ones that are little bit more different. So here you've got a negative, negatively painted shapes here with trees as well as dark as sort of background. Hey, you might have some mountains. So pick a few of these that you like, maybe two or three, you can do them all if you really came. And just follow my process in actually turning that reference photo into a sketch, painting that sketch, changing the composition to the point at which you like it. And then painting it again a second time on another bit of paper or even in your sketch book. So go ahead and give that a go. That's going to give you a really good foundation to actually painting your own reference photos, just knowing what process to follow. As if you follow this process, you can pretty much paint almost any landscape. For the second step of the project, what I want you to do is to just pick out a reference photo. You might find it over the Internet or you might have some reference photos on your phone. So just go through, pick out a photo that you've taken and try your best to turn it into a painting. So things to look out for in reference photos is you want to look for areas of contrast. So when I say that, what I mean is, for example, these mountains here, the dark and they stick out of the sky. Picture that's just completely dug. It's very hard to paint watercolors. Getting those contrasts really makes the lights and lights and darks just pop out a lot more. So then the same thing for this one here, putting in these really dark background contrasting against the warmer and lighter colors of the house and the trees, really looks a lot more interesting that way. So another example here, I've left some highlights on top of the houses here, the rooftops. And he also got this one here, very simple composition. We've got some darker kind of branches coming in from the side and then lots of roof here just sticking out. Having that contrast also between these warm colors and cool colors makes it really more interesting and pops out here this double effect of having it lighter and sticking out from all this darkness and also having it in a warm color next to a cool color. So give it a try. It's really important to try different reference photos, turning them into paintings because you can only get better as you practice, you'll find that there is a patent and a process to turning a reference photo into a painting. And once you learning it comfortable with doing that, you can turn any photo into a beautiful painting.