Success With Watercolor/Master Painting Faster With Basic Professional Techniques

1. Success With Watercolor Intro: Hi, I'm Ron Moby and welcome to the class. I'm a professional landscape painter and I would love to share some of the skills and techniques that I use as a watercolor painter. In this class, I'm going to show you how professional artists paid wonderful watercolors with very little effort. You know what, a little bit under the clouds there. Oh yes. Here are the two things that ensure their success. First, we rarely jump into a painting. We prepare, we prepare our materials based on a time to work. And most importantly, we prepare several thumbnail sketches which will decide the final painting. Second, we enlarge and develop the thumbnail, and then we get to work. Now the simple doesn't it? And it's easy to do. But it's easy not to do. Don't rush into your our work, making a point and get prepared and then follow me through this class using the right techniques to create a wonderful watercolor. Here's a 30-second outline of how the class is going to look on the inside. You will need your materials, get them ready to do the skill-building section. That'll give you good technique and of course skills. Do your thumbnails with me and see the color choices I make. Work through that project with me. That's where you'll learn what thumbnails are all about. Finally, will do a small thumbnail for the final painting. Then I'll show you how to enlarge it and put it on a really good piece of paper. And we'll do our final watercolor painting. Join me now and prepare to succeed. Take a film nail sketch and you can make it bigger picture like this. 2. Materials You Need: Hi, I'm Ron MOV and welcome to the class. The main thing is to have good materials. If you can't get the best, then get the grade under. Don't get the cheapest paints you can find in brushes, and you will not succeed with poor materials. These are the materials will be using a brush, sometimes called a saber brush, to long pointed brush. And medium-sized brush, either stable or just as synthetic. Robert Simon. So three brushes, your choice. A pencil append that doesn't bleed when you add water to it like a Sharpie, some green tape. I recommend painter's tape rather than masking tape, because the tack on masking tape is very acidic and it stays on your paper. Three colors I'm going to use today. I'm going to use a light yellow that's very transparent. This one's called as zone yellow. I'm going to use a permanent crimson, Alizarin crimson. And I'm going to use a permanent fellow blue. These all three colors, you're just beginning. Watercolors are a great choice because the stain, the paper instead of sitting on top of the paper, and that's what causes moneyness. So one of the things we're going to learn today is how to keep your paints from being muddy and dirty looking will also need some good quality paper. Arches, 140 pound paper. Or you can use a Kaufman, or you can use a Canson, 140 pound paper, any kind of watercolor paper. That's real watercolor paper. So I'm looking forward to you being in the class and let's do some lovely little landscapes together. Remember, always seek a paper towel and touch it and gives it a nice little form. There. 3. Skill Builder:Hook Stroke: I could do a landscape using colors, and I can also do just non-representational. Some people call them doodles or non objective art abstract. It's a great way for you to start learning how to use your materials. Because you don't have to worry about it looking like something. I mean, these are just little squares that I've used. Actually using a brushed, the actual brush does the work. And there's the wet paper, dry edges like we just learned. So let's do a little fun drawing today using our new stroke, which is the hook stroke, and using hard edges and soft edges. And let's make a small picture from start to finish using the techniques that we have been working on. I'm using my last paper here. It's arches, 140 pound watercolor paper. And I'm going to tape it into two sections. On this section, I'm going to do probably what you've been trying to do and maybe not getting the results that you want. On this side, I'm going to show you what I do to get the results I want with very little effort using the stroke that we learned and the little exercise. First of all, you're probably taking your brush and you're mixing up some color. We'll mix up some yellow. And then we're going to rabid and make it into a Shapes he knew were going to try and make that hedge nice and straight. Now, granted, I'm probably going to get this, but I'm really concentrating. And there we go. And there we have made our shape. Now I'm going to take some ultramarine blue instead of failing, I'm going to take some ultramarine blue. And the reason I'm going to take ultramarine blue is it's a grainy paint and it's not as bright. And it doesn't make the best greens for what we're looking for, vibrant greens. Now I'm gonna put another one beside it. It doesn't look too bad. And then you're gonna probably robert a bit. And you'll notice my brush is pointing this way. If I pointed my brush that way, I'm never going to get a smooth edge. So I'm probably going to get an edge like that. See it's all ragged. Just delay, you know, all the way to fix that is you have to turn your entire picture this way. And you have to get now you're going to get fussy. And you're going to try and get that just perfect there because you're working on dry paper. Wu skin tricky. Oh no, the other one's bleeding on made this one too big. Oh, what am I gonna do now? Well, that's the way it is. And k kinda looks like a strange banana, but that's what happened. Clean. So here's a better way to do it and you'll be more successful. While you do is wet. The paper, the whole little section of paper wet it. Actually, you know what, let's wet all the paper. Wet the paper. That's sure as sort of strange, but remember, water color, look, see what this looks like. Our distressed banana. Now there was a little blue in my brush here, but that's okay. There we go with wet the paper notice because I taped it. It didn't buckle. I leave here. I'm going to take here this one. Whence it makes sure my Russia's clean. You have to have extremely clean brushes for yellow. Yellow is the easiest color to get dirty looking, okay, there are a bunch of yellow on this brush. I'm even going to get a little more. Wow, that's a lot of yellow and there's not much water is kind of like cream whipping Kremer, toothpaste. This one was very thin. Remember we've mixed the paint in here. Okay, now this paper's wet, gonna do my little stroke. Okay, now you can see right away because my brush was clean and it wasn't that clean here. And when I mix the yellow in here, there probably was a little bit of blue, so it got dirty and now I don't have a nice yellow. I don't put another one here because the papers wet and the one this way, see the hook. Now the papers drier up here, so it's not spreading as much. Notice I'm not going over it. Key point. Put the paint down in a watercolor and wait. Okay, clean my brush, FirstColumn and the dirty water. And then we go over to clean water. And I take some very nice clean thylacine. Put it here, add some water to it just a bit. Notice I did add some, but not a lot. Then I take my brush and loaded with fellow scene. I'm going to touch it feels a little bit too wet, their ego. And I wanna put my stroke here and it's going to bleed into here. I may have waited a little long. Who I like it. Oh, look at that. That's nice little. What do I do now? Stop and watch. Don't fuss. Don't go. All your perineum are here. Wheat, stop. Watch, let the paint do the work. You can see on this one how the pink disk disperses and it gets lighter. Watercolors will go lighter. When you use wet paper. They will more or less stay the same if you're using dry paper. So there's a difference between kind of trying to make this shape with little strokes, using sad to say some dirty yellow and some very thick ultramarine is the surface paint, as opposed to transparent paints using 123456 strokes instead of 26 or 30. And that's a good start for this little picture. Can we do something else to it? Of course, we can have lots of fun with it. Let's see what else we can do to it. The paper is wet still, but it's only damp and would have been doing is taking some green, some light yellow with a little bit of yellow and dropping in some little spots like that. See how the page just spreads beautifully without even doing anything. Just drop it into your paper. If you have cheap paper, this is not going to work. You have to have Good paper. Good paper makes a great little painting. So now I'm gonna take some thicker fail. Oh, look at this. It's thicker. It's still wet. Meaning there's water in it and I'm just going to touch it ever so lightly. Now that's dark, but you wait a couple minutes and that paint is going to get lighter. Paint dries lighter when the paper is wet. If I put that on here, it just stays there. But if I wet it like that and I do it right away, it doesn't spread very much. If I wet it and leave a big puddle of water on here, like that, it'll spread too much. C. You see here where the paper was dry. So it's a little different than all the others. What can I do there? Well, clean my brush. And if I wanted to same as all the rest of them, I'll take a little water, go around the outside very slowly. Make a circle. Here we go. Makes sure it's round. And there we go. It looks okay. We'll put a little bit of this in. It should spread. What if I wanted to make one of these darker in the middle? Well, you can do that. You can bring this to another level by adding one dark blue simply by taking your brush, taking some fellow, and giving it a low stroke like this. Just in the inside C. There's dropping it in, just dropping a little bit in like that. Let it sit. Don't rub your paper. You don't want to do this. Oh, I don't like that. Bloom and add some more bluetooth. And your rubber abrupt rubbing disturbs the paint and then it racks it. This is called stumbling and it is, there is a time and a place for it, but usually it comes at the end of a painting and then if I wish I was rho and am I doing wrong? So one of the things you may be doing that isn't working, don't say I'm doing something wrong. Say what is it that I keep doing that isn't working. And this may be one of the things. You're just not letting your paper be wet and using nice gentle strokes that you can get good at reading the paper and doing that stroke. Let's move to the next part of the class, which is the thumbnail sketches. 4. Skill Builder:Wet In Wet: Okay, here we have a basic little watercolor. It's divided into thirds, Division ten design. It's got an oblique line, a little mountain and a big sky. So what I wanna do is I wanted to do a, a dark, a medium, a light, and then just pure white. So dark, I will wet the paper here with my little brush. This is my little Sable brush. It's actually a little bit of a synthetic blend. So there may be a little bit of synthetic fiber in it. Avoid it. It's Arches paper, really good paper can just let it sit there. And I'm going to choose a color and the color is going to be, let me see. I think of shoes. I think I'll go with the purple. I'm partial to perturb these days. And I'm using a medium brushed, not too big. I'll take a little bit of the Alizarin crimson, the papers where it's small, it's not going to bleed and I'm going to just put it in there and watch it. Clean my brush. Now, I don't want to use in cobalt. It gets a little pasty, nor do I want the manganese or the ultimate green or this early and I wanted to fail. And I want to come down the side with the fellow. I want to leave like some white here in there. Okay. And then I want to just just let it blend in the wet area. It's not going to go anywhere. But the wet area, just turning it it looks like a cake batter at first before you put it in the oven. But once it's in the oven, the magic happens. So it's in the oven right now we let the magic happen. We don't touch it, may be picked up some big drips here a little bit. We don't want too many puddles. There we go. Clean the brush off. Now, this is dry. This is wet. If I get any of this into here, it will bleed in. So what I'm going to do is before I even get going, I'm going to wet at, and this is the wet in wet technique so that I just touch it a little bit. Just a little bit there c, so the sky is running into it like that. And it's running right through it, even though it's puzzling there c So when it puddles, tip and see what she can do. Oh look, I'm running the blew up into the red. I've done very little. If you want to make a perfectly lovely little landscape, learn to watch more and paint glass. Okay, we're going to bring in a reflection now. Reflections always reflect what's above. So there's a little fail there. And I'm going to use a dry paper announcement. Take a little fallow. See you fail, fail, fail. Right there, there's a little purple. Take a little bit of steal a little bit from here, which will lift the paint. Put it in here. Now we have the beach could be winter. Let me put a darker color around the outside to show you how this white can really make a difference. I'm going to put a neutral color. Neutral color is going to be some red, yellow, and blue. Whenever you mix three colors, and be careful you don't get that wet area. You get what's called a neutral. This is a mixture of yellow, blue, and a little bit of Alizarin crimson. Okay, now you can take a look at that and you can see how light that is. The weight of paper is very important. Okay, nicely done. We'll just add a little bit in here because we want this red, turn this into the darkest area. So I'm going to take three blues. I'm gonna take a little bit of the cobalt and just tap it in. C now sits up on top. I'm going to take a little bit of the manganese, which is quite soft right now and put it right here. I don't think it's going to bleed. I think the papers drying sufficiently. They'll put a little reflection in there and take a little bit of the cobalt, but a little reflection in there. And now I'm gonna take the failover and put a touch of the dark halo right there. Look at that. That will might bleed up in the sky and might not put the reflection in right there. Yeah, I think I'll go with winter and leave that white snow. Okay. Look at this and might just bleed up. It's starting to what do I do if I don't want it to bleed, dry my brush off and just come near it. Let it sit for a second and then roll it down like that. And if you see it's still bleeding, dry that brush off. Give it a little bit of a teeny weeny rub poet down their regard for great little picture that I took a couple minutes and we learned how to use wet paper and why it's important to leave spots of white. 5. Skill Builder:Brushwork: This is called a round brush. This is called a flat brush. For obvious reasons, one's flack ones round. This is more of a mop brush. And this has an even larger one. You can get these brushes reasonably priced, about 30.25.8 and maybe $6. This is squirrel hair, synthetic squirrel hair. This is a blend of squirrel hair and synthetic. This is totally synthetic, and this is synthetic. You can pay a lot of money for brushes. These are three brushes. Or for that you should have. We will start today with the round brush and see what it can do. Three colours, one piece of paper. I suggest that you get good paper. This is 140 pound cold press, Canson watercolor paper. There are many brands and you can find out in all these classes which are the best. This is a very simple yellow and it's called AZO yellow. It's nice and clear. This is thylacine blue, nice and clear, and this is Permanent. Alizarin, Make sure it's permanent. Don't get cheap paints. Clean water. Always charge your brush. And let's thin the paint. Put a little drop here. And let's take a little bit of the yellow. And now we're going to add a little more here and touch it to the rag. And let's do some strokes. Holding the brush. You can hold the brush like this. You can hold the brush like this. You can hold it with your mouth, your feet, anything can hold a brush. If you're using a finger's, what you wanna do is you want to brace a finger on the board here. And then just like, like a swing, it just puts some strokes in. Don't move here. Just stroke. And you'll see that you can get some fairly good strokes. Now. Little more water, little stronger paint. Keep your paint thin. Ok, now this one, we're going to sweep the stroke. They see that baby finger gently guides you into big and small. That's the round brush. Next, little more. The stumble. Stumbling is when you go like this, I'll slow it down, up, over, down into ALL over until the brush gets dry. Cm stumbling the brush. Look how much paint you get with just that much. Now what I'm doing here is creating texture. I'm not trying to create a picture. Even though I see a picture. You'll always see a picture. Here. We have some fence posts. That's the stumbled. So next is the dry brush. And that's when you hit your brush a bit like that. And then you can add little feathery strokes. So those are some of the strokes that you can do with the round brush. Always rinse it off and reshaped the tip and put it down. Fun with your brushes. 6. Draw 4 Thumbnails: The two most important things to start with. And let's keep these in mind. Our division. And what we call lighting. You can divide your landscape into several shapes. Can be long and skinny, even portrait style. So start by just making a few of these thumbnail sketches with a pencil. And let's see what division is all about. I like to write it so that we stay on track. Division, how we divide our picture. And the second thing we'll put up here is lighting. Because we're doing a landscape. It's outside. So the lighting comes in from a natural source. We'll put little son here. Keep these two things in mind and you will create a perfectly lovely little landscape. Okay, we'll start with some really simple words. Big, medium, small. And then two-thirds and 1 third. That's all we need to do to get started. Okay, let's start with 1 third. Let's divide this picture into thirds. Well, it doesn't have to be exactly thirds. And really what it means is that there's, there's more on top than there is on the bottom. It makes for a more interesting picture. Second will do the same thing down here. We'll put a low division. Now we do call that in landscape painting, the horizon line. This one, we will put in the middle, just because I want to show you how the middle can be a little boring. But if you happen to get a picture down in the middle, you can fix that easily. And let's put this one up high. On landscape. There have to be somewhere. I would say in this picture, you're probably up on Iraq. And your maybe got to feed over here and your hands up in the air. Let's put a little bigger rock and you're looking down a little bit on the picture. So we'll put in a big mountain here that goes almost all the way, but stops about their gives me a little distance here, something big. Then we'll put a line on an angle and we call that an oblique. And Little rock in there to now we have something big and something small, and now we need something medium. Or I could also have something bigger than this. So let's say I'm going to put in some very, very large clouds. But I don't want to follow the shape of this. A little trick or tip when doing a landscape. Try to go against what's down here. Make it more interesting. Say, if I'd put them right along here, looks like it's called ghosting. We're ghosting along there. This is kind of boring, so I might add a little zigzag here in there. Tells me it's a mountain. Maybe another little line in here. Maybe I think I will do three rocks here and a bigger one rating a corner. So now I have three rocks. I am a big shape. Might say that's the big shape. I'm a big sky. Take my eraser, get rid of a few of the lines that I don't want. There we go. That's a simple little landscape. Purple dots for texture. Texture is important. And we'll do the lighting next. That's basically are designed here. Let's do repetition in our design. Let's make a low landform pretty close to that. And let's put another one coming in here, and let's stop it right there. So I have my two thirds here and 1 third here. Maybe it's a little more, but it's definitely not in the middle. And then we're going to put a big one right in here. And it'll come right over to the edge. Now they're interlocking. See, when you make things locked together, it's very important. Now remember we made that straight line. This is important. I want to show you how to make perspective in your landscape. So this landform actually would be a little bit on an angle like that because it's closer to us. This one would appear to be straight, but it should go a little above this one. This is how it looked, makes your, your landscape look like it has depth. So see this little point right here. Very important. That little point, women and make this a little bit higher. So it comes in just slightly above that. Now. And I look at this shape and I go maybe I'll just increase that up a little, put a little bit of a, Something interesting into it. There's my eraser Seife, I'm adjusting and I'm getting a nice design. The only thing is this is very close to that. So you know what? I think I will bring this mountain right over to the other side. Much better. So 123, I went to big mountain, medium mountain, small mountain. And let's make our beach line. Who, on an angle this way could create some interest. Clouds again, why not? Let's add a round shaped. Remember, don't do this. Don't make your clouds follow the contour or the edge of the mountains creates some contrast. Contrast is when you make things bigger or smaller. This is a straight line, so we'll maybe we'll add a smeared cloud, just come in like that. So you have a whole cloud system here. Blue sky, very nice little LA, landscape. Add some little wave marks and some dots for the beach. Okay, that's, you're learning how to create a basic model for your landscape. Okay, so this one here, this is a picture of something that's far away. It could be, a weak field, could be, oh, let's put a little road in here. Let's make it out in the prairies. You see that nice curve. Very simple. The first curve is easy. We're on a country road before telephone posts, so way out in the country. And now this one is, it has to get a little bigger each time. And so much bigger that it's really just a little curve like that. You see. And next thing is I will put some low mountains in and the clouds. Let's just put in some rain coming in. Some weather's coming into this one. The road usually erode has a middle. So I follow this contour with this contour, and I follow this contour right here. So I have three points here, 123 and another one here. And that gives me a road. And I can put some rocks here because it could be a gravel rood. Details disappear in the distance. One of the things in the landscape, if you're doing a fence post, don't put the bottom of the Poston, you wouldn't see it. Or if you have a cow in the field here, you're not going to see the feet. Same with the rocks. The rocks are gonna be piled up here, but as they get farther away, you're not going to see them. And usually there's more rocks on the edge of the road. Brass grown in here are really simple, basic landscape, devoid of everything except a road, a field, some mountains in the sky. You can add things to this fence posts, whatever. But merges doing the basic, This one is the horizon lines, Hi, horizon lines, low, horizon line, slow. This one is in the middle. Like this one. It's a little bit of a challenge. Let's just say it's an island in the Hawaiian Islands. And you get these little islands, they get farther away. Maybe a big one in the background there. Okay. So big, little, small, big, medium, small. It's in the middle. It just doesn't really grab us. So what we do is we add, now, you'll add a line on an oblique now. And you'll see that it, even though it's in the middle, it has more interest because I have divided into three here. So even though you might do your picture so that it looks like it's in the halfway mark. By adding that extra line here, you can fix it. And now it's time to put a little color on this. And I'm just looking forward to you being in the class and us doing this together. 7. Color Choices For Thumbnails: One of the reasons I don't clean my palate all the time is because I can get some nice neutral colors. Neutral colors basically is a mixture of the three primaries, balancing out one over the other. So it can have a blue tinge to it, or it can have a red tinge or a yellow tinge. This one is basically a reddish tinge. I like red. I'm going to do this in red. And the first one we're gonna do is the mountain here. Now you might say that's brown or Brown really is a red. Notice with this neptune brush. I'm going to be, as soon as I stop moving it, it'll leave a big blob. Now you can avoid the blob simply by tilting your paper and letting the paint run. Having another brush handy. This is for a perfectly flat wash. I wet the brush but then I dry it. And I run it along the side and it'll pick up the address. Now you can see where it's bled over here. I want to take the damp brush, just pull a little bit down for a little reflection. When you use the same color on the rock. And this time I want the drip to stay. Now show you why. You know, these big brushes have a lovely tip on them. Just because it's big doesn't mean you can't add things to it. Or do little parts. Dry my brush and I lift the top part off. So the top of the rock is lighter than the bottom. That's really a trick for doing rocks in landscapes. The sky reflects on the top of the rock. Now my brush tool has paid on, so I just tap it. You'll see it goes in and I can make a little darker spot. They're seeing. Beautiful, Okay, this guy, well, I take a little water. I take that neutral color which we called, you might call it gray, but it's not really gray. Gray is really white and black. These are neutral colors. They have a beautiful appeal. See, I've added little blue to it. I'm going to thin it down. And my sky doesn't always have to be blue because I can use graze in my sky. Mccollum gray or neutrals and try and stick with the word neutral. There's that big drop there you see? Now another way is just to drop it in. Let it sort of drift along. Now here's a beautiful little trick. The papers dry on the edge, so we wet the brush, wet it, or dampen it just so there's not a lot of water. And then we just saw fit over the edges like this. Clouds like to be soft and see I'm not fussing with it. If I add water to the sky now it will bleed and it won't look so good. I'm gonna switch to a little brush can take that little bit of sky color here. These big clouds would reflect in the water. So I'm going to add just a little bit of the sky color here. Little drops you that. By the way, I'm using a very inexpensive watercolor paper from a dollar store. You can't go over this paper once you touch it. That's it. Don't go word again. It won't let you do that. So I usually use a really good paper. This is Arches paper, but I'm just wanted to show you how no fussing is really important even on an inexpensive $6, I think for this whole pad, it's not sized mean there's no alum or gelatin in it. So once you've done it, that's it does leave it. Okay, let's do a little warmer color. Let's do a neutral with really a lot more red and loved more yellow in it for the beach. Now you can see what it looks like and I'm going to test the color. Yes, it's nice and brown. A carefully pop it in around the rocks. Notice I'm pointing the brush and this is a big brush at the edge. I'm painting by lightening one side, picking up a little bit of the paid with this dryer brush. Very slowly on this paper. It's a matter of fact, slowly on any paper. I lift it once off, clean the brush over one more time. I'm not robbing unjust touching it to the paint lightning that a little bit. Clean it off. And I'm making something go from dark to light. When something goes dark to light, it looks like you've created a natural lighting. Every girl seeing that little section there, dark to light in here, I'm going to leave it, but I'm going to mean warm it a little bit. How do I warm it? I take a little bit of Alizarin crimson and one of my favorite colors. I put it here. I add little water just to draw. And I just put a little bit in here like that. Stay away from the mountain. This is still damp. So we're gonna come up and see what it does. Very nice. Yeah. And that's enough paint. So what I do now is take the paint off. Watercolors are great tip. It's about putting paint on and taking paint off TO are just very gently put a little bit of that in there. See, I'm going to come up here a little bit. Oh, that's nice. And a little bit in the waters deal a little bit here, gently, just a little bit here and there. And there we go. That's a great little Start. There's only one left thing. Thing left to do is take the original rock color. And because I left it white here, I just put a little drop in here. And this will look different in a few minutes as the paints dry. Should I do one here? Yes, I can do one here. I'm going to go right across here because the paper is just about dry. Let's see what this paper does. When I put another bit, wash on it, see Jan ple making the rush and now it's dry. I mean is drying so I can drop in a little bit of this and probably dropping a little reflection here. One little stroke here. I'm going right through. Take the brush, soften the edge. You know what, that's it. I'm not going to fiddle with it. Let's do picture here. This one using pure colors. Pure colors are red, yellow, and blue. Very similar to this. I didn't use a, I used a couple secondary colors, but mostly pure color. So let's start with a pure Alizarin crimson. And Alizarin crimson, permanent. You want a permanent color? And let's do something that you probably have never done before. Let's go over the entire picture. One stroke there, then little water, another stroke. And low water, another stroke. And the little water and another stroke and some water. You're adding water. Now the paint is very wet, so it's time to lift with a dry brush. Lifting is very important. As I said, you put it on, lifted off. So take my towel here and I'm going to lift out the cloud's first. See the paper doesn't lift off. Why the paper is unsized. You may be able to tap a little bit off. Even then. You see you can get a little bit off by pushing down, but this paper is unsized, so the color goes right into the paper, which a lot of Japanese papers, Chinese papers, the papers from Asia. That's the way they paint on unsized rice paper. That's one of the things I like about this paper, is you don't get a chance to lift too much off. Now that color is Alizarin crimson. It doesn't lift very well. Let me take a little bit of the cobalt blue, which is right here, which is a thicker paint. Now cobalt blue. It sits on top of the paper. You can actually see it here as it sits on top. And because it sits on top, it will lift easier even on unsized paper. Watch seed comes off a little more. Now if you're using real watercolor paper, you will have no problem lifting off the paid. So I can just add a little darker here where this paper's wet so it may bleed at the end. But note because it's not sized, it's just staying put. Now that's the cobalt blue. This is the next one is fellow seen blue and fail seen blue is a stain or color. So when it goes on, it's not going to come off easily though. Look how wet the paper is, right? And there's my failover blue halo there, mixed with a little bit of the cobalt. So you can mix blues together. Next up we're going to do some very warm colors. Can use my big brush again. I think I'll just take a little bit of the cadmium red and this mixture of cadmium yellow. And I have a brown. Now Brown really is a neutral color because it's red and yellow. It does have a very small amount of blue in it. So we'll start at the bottom of the road. And we'll just put on a flat wall wash. And we'll point to brush at the edge we're painting so that we can follow along. And up here. Notice this pressure, that nice point. Just hold it up and test. It, sweeps around the corner and put little dots in the middle because that's where the gravel is going to be. And some little dots along this side because the gravel and gets spilled up on the side of the road. Now here's a little tip. If you wanted to go darker, just take the endear brush and just poke in here and there. That will produce a little indentation on the paper. Which will go darker when it dries. There we go. You can even take a little bit of the darker brown we had before from this one, put it a little bit on extra, maybe a little in the corner. Coupled well-placed dark spots. There we go. X the Brown. Now remember we're trying to stay warm here. So next, I'm going to bring over some very clean yellow. Then put a spring field of wheat. In the spring. The wheat or the Ri, bach wheat, winter peas, everything is a very light green. We're going to start here with just a flat wash of the wrong, leaving a little bit of white along the edges. So we don't spill into the road. Not that it would be wrong. There there's are yellow and I'm going to also put some yellow on the hills because they're going to be a light green. Also. He simple. So we have a neutral brown, We have a primary yellow. And let's go with a pink and orange to pink, orange to blue. And the reason being is it's going to be like an early morning. So I put my yellow here. Sounds just coming up. In the East. Usually in a landscape, the left side is east and the right side is west. Now I'm going to take a little bit of the Alizarin just to drop. Notice, I don't use a lot of paint and that's probably not quite any pain. Gotta get someone there there this see that? Then right over to the right-hand side. I take a little bit of the pharaoh, very small amount. And I'm going to let them blend together. I'm not even going to touch them, I'm just going to tilt them all just a little bit. Now remember, if I let these blend too much. The yellow, we'll get into the blue and I'll get a brown. And then I'm going to just look up the extra page there. You'll see that it turned brown on me. But it doesn't produce a nice grade. And now I can take some pure and just drop it in there through pure blue, just like that. And then I'm going to leave it, see what happens through a swipe of the red. They're there. This one is going to be just flat dry washing. The best Violet is cobalt blue and Alizarin crimson. Okay, so I take this violet color, Put a little stroke and like that. Remember, I'm trying to get a flat. So I'm going to tilt it. When I tilt it, it's going to run. There we go. So now it's running. Now depending on how dry the paper is, it's only going to spread where the paper is wet. But more than likely it's going to all collect down here. So I'm gonna come over here with my dry brush and pick up the little drip. Rosch, I'm going to use the same color in the sky, but I'm going to add a little more water to it. See, so my brush has more water in it. Are going to check and see what happens. And I'm going to turn my picture this way. And I'll probably go over those little clouds, just leave a little sleeve, a little bit of white around them. Notice I'm just letting them brush gently, stroke over the paper. And there we have another little wash. Don't be too concerned with your water coins as far as being perfect. Just be perfectly relaxed. They can get a little tense at times. But remember there's no mistakes in art. Just redirections. Very GO. Okay, so now we'll go with very light, like extremely light for just added water to what was on the brush. And I'm going to leave a little white strip between the two so that water does not get into the this area and make a bleed mark. And now I'm going to add something to the purple. And I'm going to add a more blue to it. I'm going to add the I could use manganese grew, but I think I'll take the failed blue again simply because it's the most transparent blue. It's just a lovely blue that you can see through. And now I've got this big brush for the term I pay for this way. This is where this is wet, this is dry. I'm gonna stand the dry spot. Do you want to get a little bit on first? Once I get it on, now I can adjust my paper. And of course, the oh, that's a little island and forgot there's two islands here. All were in Hawaii. That's right. So I just take them brash and gently come near the edge. If the skies wet, I'm going to leave just the smallest little white line in between. Now leaving these little white lines creates a little sparkle in your picture. And it also gives you the habit of leaving a little white here in there. A little white in your watercolor creates sparkle. And look at that. And I have two options here. I can just sort of play with that now, which is one of my favorite things to do. And I'll just let it collect there. I might, I might tell to Tibet by putting this under C, whatever I do, it will go where it will go. Well, water wants to go which is downhill. So I'm going to take a little bit of that original color, purple. And very carefully, I am great to finish this little island just with little dots. Light bleed there. And yes, it is bleeding a little bit there which is not bad, actually. Kinda like thumb. Look. Whoa, OK. Well now here's something that will happen to you at some point in your life. And you can get upset about it or you can incorporate it. I think what I'll do is incorporated by pulling these two together. And there we go. We have a nice happy accident for sure on that one for soil. And over here, I don't know that it's a little random wave spot. What's going into the water a little bit even better. Okay, let's let's make the next one. A little green, yellow like this. Let It Bleed in C touchdown and it bled in, were like that. And let's add a little more this dropping green, it's going to look different when it dries, believe me. And maybe lose shot of it on the beach. Just a little bit. Warm up the beach little. I'm not sure what the beaches in Hawaii or length, but they're asleep. I'm just let's just watch that. These are all Drive so far. Look, look at all our little landscapes. We've got these ones. And we have this one. So between all these, we should be able to come up with our project, which is a lovely little landscape on a piece of arches, 140 pound paper about this big. And I think we'll draw and painted. And we'll use some of the principles that we learned here. 8. Thumbnail Touch Ups: Now, as an artist, a professional artist, I can't overemphasize how important little thumbnail sketches are. The reason I love a thumbnail sketch is because once you've got the idea, it doesn't take much to develop some color on it, even on this inexpensive little book full of little tree pictures, I can take little bits of color and I can add some feeling to it. And this is very much like the actual painting that we did today, where it was warm colors in the fall. And a lot of the ideas came from this picture also. So don't be afraid to put some color on your thumbnail sketch. You'll always have a better time doing the actual picture. Because you will have prepared yourself mentally for what you're going to do in the actual picture. So let's take a little look at some of these that we did and see what we can do. Them. Can see I'm because it's bone dry, I'm adding some of the pure colors now. So I could take this and even it's a nice small little pictures, totally manageable. As matter of fact, in the Victorian days, miniatures were really, really sought after. And it was quite a genre in the painting. Probably with a pen. I could Street note a few lines and add a few bold marks to it to separate some of the shapes. And what we call strengthen the lines. Just by adding a few little black marks. Some texture to the water. It's a thumbnail. You're supposed to have fun with it. You're supposed to take it and then use it to help you're doing, to do a bigger picture. Same with this one here. Probably strengthen a few lines. Just by going over with a black pen and put em, we'll throw in a little couple fence posts going off in the distance. Work on the other one. Here's some pure yellow going on here. Because that little sunset, Yellow Sea will warm up the road a little bit. The sunsets on the prairies are beautiful. There we go. Just touching up all the little drawings that we can do that can turn into a bigger picture later. I'd like to take my initial pictures and frighten them up at a few little spots. Perhaps the papers dry hair. So adding a little bit of the yellow, I liked the AZO yellow because it's very good at staining the paper. And it doesn't really sit on top or disturbed the paint underneath. This one here. Just a little little thicker. C, It's just tap it in. You're allowed to use watercolors with less water. When the papers dry. You can add some dryer paint to your already set paint, which here is yellow, which is a great staining car anyways. So there we are going a little green on the brush their seed. And now I'm using just little, those little soft strokes. Add a couple more dots of dark blue. Perhaps here. Just to add contrast. Maybe a smidge here. See how it goes on nicely. I think that one's perfect. Maybe on this one. And just having a little fun with dry pain. When it paint. Wet paint and dry paint respond differently. And you need to get to know that. I think that's a good little finish up for this picture. 9. Using Contrast and Color : A good example of contrast you can see basically put a few dark spots in a quick, simple little landscape that has a beach line. And then it has an island here on a little bit of an angle. And then it has a little island behind there. A little cloud here, maybe a cloud there, and maybe a cloud there. And just like that, it has no lighting. Once you've added a few dark spots to it. Shadows by the clouds. And you can try different little shapes for the, for the shadows. Make sure you put your shadows so that there's light against dark. See, dark, light, dark, light, dark, light, dark, hand. We'll put a dark in here. You can also make some objects completely dark. Like the beach in the front could be all dark, it can be all in shade. And then we have a few little reflections here. It's dark. Put a little reflection, and I'm just using a china marker here. Under the clouds, some dark. Now this is dark, so let's make the dark here and light there. And this is light, so we'll make this one dark. And then put a little texture in the water. It's very simple to actually create lighting in your watercolor by adding dark spots and light spots. If you put two dark spots together, the join, and then you can't tell them apart. This little picture, which was an ink drawing. And I used to quite a fine pen. This pen here is append it. It's called Lappin. Maybe it's from France and it's very, very fine. And that's what I did these drawings in. And all I've done is added yellow and blue. I've not added any other color, but yellow and blue. And I want to show you why you can do a lot with two colors. Because yellow and blue put together will make a green. So let's just take a look and see if we can make this more intense. This is the same intensity is this. And in order to create a lighting effect, you want to have different intensities of color. So there's two ways to make the color intense. Use several layers of paint, such as this. Each time you put on a layer of the yellow, it gets more intense. The intense colors which are more pure. Usually in the foreground as it gets to around here, the colored is get lighter because of the atmosphere. One of the rules of aerial perspective in landscape painting is colors get lighter as they get farther away. Now, I'm taking a little bit of thicker paint here. Now, let me show you how thick it is, c. And I'm going to put it in the bottom over the green here, over the blue, which will make an intense green. But oh dear, it's too thick. Why? It's more of a little cadmium in that. So by spreading it out so that it's not too thick, I can increase the intensity. If you just let it sit on top like that. It'll be like pasty. Better to thin it out a little bit. See and have maybe some spots really dark and some spots late. So I'm going to make some spots darker here are thicker by just dropping in some fairly thick yellow. See right there. That's my most intense yellow. Now, to get the greens here even more vibrant, I take a little fallow. And in mix it. Greater. Fail is your thin color or staining color. It will not really work thick, but it's certainly made the colors more intense you see when you lose a little bit with it. So a little bit of that failover into this mix, that green, even more intense. And of course here, it will intensify that green. The shadow, shadows are always dark at the base. So let's say I have this mountain in the background. The bass is here, so I'm gonna take a little bit of the Manganese Blue. I like Manganese Blue. It's rather pasty if he's at too thickly. So and I'm going to drop it in. Dropping your pain and letting it settle is another way to get a uniform wash. I'm still only using two colors, yellow and blue. And this I'll simulate a few little trees with these dots. Here we go. A little bit in the rocks. Two colors, yellow and blue. Now, mind you, I used three blues, I use Manganese Blue, I used cobalt blue, and I used a little bit of Thiel are blue here and there also. Okay, now, let's say I want to intensify this blue even more. Up in the mountains, the blues can get pretty strong. So this time I'm going to take a little manganese. Touch it. And I'm going to put another layer on here, which will really offset this white and this white. But by the time I get to hear, I don't want it to be too thick. So little taps there. Wanna do is put my brush and the water clean off my brush. Come at the paint from the dry paper until you need it. And then it'll run into the wet part of the paper. There we go. Bring a little bit around here. Like that little curve there. Okay, last thing if add a little bit of the failover, I mean a little bit of the Alizarin crimson. And here's what it looks like. Without any without any impurity from any other color, it's just going to be nice and clean and thin. So now I have a little bit in here into there. See that little dot there. And we'll need that. If I don't want it, I take a dry brush, touch it. But I want it because I wanted to look a little having And then here see you have had bleeds in, creates another little shadow. Soon as you touch wet paint with wet paint, you get a bleed. Little bit on the top here, might want to soften this edge e, but it might be a little too late. But that's okay. I like that shape. It's kind of a mountain shaded there. Little bit on here, little bit, just tap a little bit of the red into the water because that's reflecting. And look, we have a dandy little picture except for the trees. Now, to get the trees, they're done in ink. What I'm going to do is I'm going to take some viridian senior right here and some failover green. Fail all green and viridian green. You could do just to yellow and Thaler will give you a good strong green. Let's check this keynote. See how it's very acidic, almost acidic, I would say. So everything here is pretty dry. So just tapping a little and I think that's wet because I was up there with the brush, the tap in a little bit of this intense green here and there. And I'm pretty sure this is dry. Yeah. Adding the intense screen I'm going to hang even added a little thicker, make it a little bit thicker. For this section here, see dark against a median. This tree is really in the shadow and I wanted to be almost camouflaged. Now if I want it darker, here's the trick. Burnt sienna with the green. Or you could use burnt amber will also work. Burnt sienna or bird number will give you that really intense brown, green that you can see in the summertime on these evergreens. So there we go and drop a little of that in. And that counters the acidity of the other green. I'm going to try a little drop up here. Yeah, there we go. See the light sky with a little dark spot. Perfect. But might even fill it in here a bit. So it looks like there have look at that. Just having a great time playing around with only a few colors. If you stick into two colors, like I did in the beginning, blue and yellow. And then at the end, add a few tasty color accents like cadmium, cadmium, Jesse. And I like to use my cadmium is a little thicker because then they really stand out. Just a little bit of red here and there. Now it's going to dry a little bit lighter. This is where you could add some nice colors in them wherever. And you can kind of break it up a bit with your pencil like that, your end of your brush. And we'll reflection. And there we go. We've put in some little collar accent until our picture. And if you don't like somebody a little too dark, just take your brush. Lifted a little bit. Funny dog to for little sketch done in ink and water color. 10. Our Project:Pine Lake: I'm feeling fairly partial to this design here. Ok, first thing I'm going to do is I'm going to put a little x through the perimeter. And there's my center point right here. So X marks the spot for the center. So there's my center. And then I go through where the ak's goes through here is going to be my middle here. So I can start this by going very gently over this line. My middle knows my medal. I think I'll start with the basic shape of the land which goes out and over like that. So from the bottom, over here, past the middle, I'm going to come out with a little shape like that. And then it just goes up a little bit. Another couple little wiggles like that, like that. Out. Then up like a triangle over couple little shapes. And there we have, I mean simply put it would be Street out and then up like a basic triangle. Remember we're working pencil so that we can erase it later. That a few little branches to it. Going down and over here going down, maybe three, and maybe one on the other side here, C. So that one's on the other side, you can't see it. Little sticks, shoot knob here. 12 was always a bit of brush underneath a tree. Now the next tree is very close to it, and it's street also. So and it's going to be a little bit skinnier here. Gonna come up like that. And we'll make it what's called a spar. For now. Just a couple little branches coming over. Then we have a little leaner. The leader will just gonna put a few wiggles in it like that. And we can add some foil edge to it later. So 123 and a link to this other one over here. And it's a different distance in this one, so we'll put it into a boat here. And like I say, we can add whatever we want. As far as foliage goes, a couple more little sticks here and there. Just quite a nice big rock here. And then a little rock, it's always a good contrast. A bigger rock with a lunar rock, some more grass. Now we're going to put this line lower than this one. This was almost in the middle. So we're going to put a little bit lower at about there. And looking around, I like this big 1-2-3 shape here. Maybe I'll go with that one. And then over a little bit. And then down. And this one has a very large shape up here. We'll kinda wiggle out in just Gore the tree printed up to here. There we go. It's hard to tell which of the tree and which is not as if the tree is at the tree. Oh, that's the tree. Like thirds the tree. We don't need to do with her. There we go. Excellent. Saw this probably won't come down. Write about down here. They're nice, big shea. Well, what do you see? You know, like these clouds here, you know, I'm like, I kind of like those 123, I just draw over everything for now. I might go over a few things like add, pick the branch is little more interesting by adding some extras to its neutral colors. Basically is a mixture of the three primaries, balancing out one over the other. And just give the tree a little shade of brown. Boy, like about I left a little white there. See that? Take a little more of this Brown and drop it in member, this is the good paper. This is arches. Get at this one here. So there's several ways to do it. But I'm going to just hold my brush, stroke it down. And when I get to the end, add some dark in different places to vary the darkness and lightness. Same with here. I might have a little more dark at the top here, especially where the branches are. Another way is to take your brush and wet and wet the tree. Just add a little water to the tree like that. Let's make this one a little different. Let's add a little bit of blue to at first, at the bottom. See all trees don't have to be brown, clean the brush. I really liked this neptune brush is by Princeton. So number four. Very nice brush. And we'll take a little of this and we'll drop that in. Especially near the bottom. The paper's dry. So you see by taking the end of the brush like diameter least texture can also do that in the grass. I'm going to take the end of my rush. I'm going to dip it in the nice Louis Brown. And I'm just going to run it right up like that. This is a great way to get really fine lines. And we went to smooth it out and see just playing with a few shapes, dark and light. A little yellow first. And let it sit for a minute. And then I'm going to bring my brush down and lifted off. Just like that. Remember, always take a paper towel and touch it, gives it a nice little form. Their beautiful. So now I have a nice warm undertone there. Take a little bit more this orangey color, get it on the grass with my brush. I'm going to go round the rock, take a little bit more yellow hair, not too much. Drop it in here and there for some grass. What time of year is it? Saves? A golden autumn. Let's go with a very light Alizarin crimson. And here's my little checker here. Have the warm water. So I'm going to just start with some Alizarin crimson here. Go through the clouds right across. I won't even go into, going to go into this landform here. Just pull down the Alizarin crimson. As a light wash. There's the cloud. And I see that the tree there, that's perfect, the little blue in the tree. And now the clouds showing. So I clean off my brush and I'm going to lift it away from the cloud of NC. There. That's a little cloud form there. Take a little bit of the blue and the Crimson to get this in here, gives us a nice violet color. Violet is a very wonderful color because it really tells you something's in shadow. We put a little bit down in this one. Notice I just stroking it in beside the tree, leaving the little bits of white. And even if the tree bleeds into it a bit all the better. Because this is the initial wash. Like amino want a little bit under the clouds there. Oh yes. Clouds and nouns, everything sort of comes together, leaving little white shop space there. And shoot a little bit of this down. Maybe three. Take your brush, clean it off, shape it, and then come beside it and soften all the edges. Water is soft. That's why clouds are soft to full of water. So we see how soft this is. You don't want it hard. This Eaton couldn't be a cloud bank. Little white specks everywhere. The rock, you want the top of the rock. I love doing this on paper because you can pick up your colors. You see it's always sitting there at the top of the Rog. Should be the same color as the sky. We'll do the bottom of the rock, just a little bit of this brown. And we want the rock to look like it's stuck into the ground. So there we go and let that dry. When you quite pleased with that. Very nicely done, and just leave it and let it dry. 11. Pine Lake:Deepening Color: Now this is called a bleed mark. Now what happened was this was on dry paper, so this was drying. And when I added water on the side, they're probably a little bit too much. But I was careful with following good principles. And look what I gotta get this little bleed up here and here, which really does add some charm to the picture. So what I'm gonna do now it's dry, it a little bit more is I'm going to mix up a medium dark. Notice I have nothing that dark here yet. I'm going to make a great neutral dark. Now. I wanna neutral dark, but I don't want it to be very, I don't want to pasty. And pasty paid comes from using the CAD VMs, the burnt sienna. So what I'll do is I'll take a little bit of a drop of the yellow and get a really nice dark green here, which I will introduce into one place just to see what it looks like. It seems to me the sun's coming from here. So burned per little dark green right here. The lovely, maybe a little pinch here. Little bit behind the rock. Oh, look, it's wet. Happy accident. Leave it alone. Don't touch it. You'd be surprised what looks like when you come back in a few minutes? I wouldn't dare who up there's still a little bit what I might do a little draw up here, but I can see that still wet. So maybe not putting the little green dots in there to give me some dark sections. That's the bottom here and the water is going to be here. And like this and put one there. There we go. So little dark green just to see what it looks like. Now, a dark brown. So I have to add more red to this. A little bit more Alizarin into the green. See, Alizarin the green. So I used the AZO yellow, Alizarin crimson, and the fellow Blue, which gave me an extremely dark color. Now I'm going to pop a few of these in here, in there. These are dark colors to just adding a few little darks, especially where the branches are going to be. Its name. It's a little wet and Skiles stay away from that. See the bottom here and put a little dot like that. Take ten of the brush and look at that. I can even do it on this tree here. There's a nice dark spot called them in juicy darks because they're quite wet. A hole that doesn't bleed too much. Oh, it didn't. Yeah, just never know. It's a little damp there. I don't think I wanna do anything. Oh, I haven't been watching. Look at that. That is so cool. Let's give that rock and little dark swipe. Yes. And this one, you'd look at this dots. Stellar lava. Kinda put another one in here. Yes. A little curve. And right there you see you see that white section is still a little flick. Do you see I've just little flicked. Let the brush do the work for you. I really am going to stop for a second. You know, when you get something that's looking good, you get that little fear you might racket and that's the time to stand back from it for a moment. Let it dry totally cuz it, when it's dry, you have more control. Not as exciting, but you do have more control. So we'll see you when it's dry. Let's create a nice dark color here. Dark neutral, that lightens out to hear so little bit of Thaler, a little bit of Alizarin. And the pinch of the yellow. I'm using the ASOR yellow suit looks like Kate quite read. Not what I'm looking for. So what I'll do is I will add a little bit that over there, a little more yellow and just a smaller amount of yellow. And now I'll check it. It's getting closer. See, needs more blue. Take a little bit along. Ooh, that's a lot. But a little bit there. Who that might be the color right there. You know, I'm just going to put these three colors together. A little bit of that, one, little bit of that, one little bit of that one. I'm getting some lovely neutrals. The paper towel is great for checking there it is. Now, add some more water to my brush, let it soak into the brush. And I think that's going to work. I'm creating a myth. Making the bottom of the mountain lighter by listing it. Create a little distance and a missed. See that? Here. When take a little drop of the Alizarin and I get a purple. Perfect. I'm going to, I don't want to lose this. I'm going to start here with a little swipe and here we have a triangle, so it'll reflect down like that. There'll be afraid to make changes in your picture as you're working along with it. And it's a little dark, so we're going to add a little bit of red there. Start a little bit in here like that. See wiggle, wiggle, wiggle, and then that's it. Let it go. It'll take a little bit here. And we let it go down. So what's there? I put there for a reflection. I think we can probably add some blue in the sky up here. What do you think? Oh, there's little drop right there. We will worry about that. Let's take this blue here. And so it looks like it's a little green is the same as that one. We don't want that. Let's go with a warm cobalt. Or if you have it, you can use some manganese, but this is cobalt. And I'm going to go up just adding a little bit of cobalt into the sky area. Turned my picture this way, bring it down like that, almost like a rain. Notice I haven't done anything to the trees since we started a little bit there. And now I have a cloud here. And this is looking good. I'm going to bring this down a little farther. Excellent. Like it. And maybe one darker one here. And see what that looks like. Oh yeah, a little bit of the fellow right there. So it looks like rain coming down. Now remember the most important thing you can do, soften the edge. So take a little bit of water, pat it, dry, it. And we went around the edge. And software. The pencil marks can be taken oscillator. Wow, that's nice. Just a little more. I sink a little more of the fellow in the top right there. So even though that's pretty dark, it's going to be lighter. One is finished. Known as I've left this little white area here. I'm going to now take a little pinch of the ASOR, yellow, very thin, very strong yellow. Just add a little bit in here. So I can get a reflection in there, maybe a little bit here. And now I'm looking at my picture. I'm losing my clouds there. Which isn't too bad because it takes a little paper towel, just pop it down onto the cloud and look what happens. Lightens it up. I'm going to take a little bit of this darker color here is really dark. See it. Touch it to the rag. And I'm going to go across the bottom here. I sort of see around the shape here, look into your drawing and see if you can find shapes that can become things. I'm thinking that's mic, a nice rock. So I find my neutral color, which was right here. And goods is that a little bit of a wetness to it? And add a little dark to the bottom. Putting a little darkness into the bottom. And this is the dark side of the rock. It's coming along here. Another rock here, just tapping. That might be a little rock there. Bringing shapes into focus. What are the tricks for rocks is to have three planes or three sides like 123123, light, medium, dark. Let's put a real dark in there. Skinner, really dark. And just tap a brush into the corner there, see that each one gets a nice dark spot over that green. Nice. How about a little brighter red on this one? See, I'm taking some of my, what I call tasty callers. Who mixing on here, look how red that is. And I'll just take a little bit to almost dry C and are just going to put a little bit on here like that. And then clean the brush off and come at it from either side to soften it. We don't have booted garish for their colors. Subtle. Subtle is better than bold. Sometimes bold is good too. Okay, so over here, this one here, the cobalts really sitting on top. But I like it. But I think what I'll do is I'll add a little more of this color over. It. Isn't a little bit of Manganese Blue in here, just a little. And then I'm going to darken a little bit in here. Just pick up a little of that, see how that, that cobol actually picks up. Even though it's been sitting on the paper overnight. So some colors go into the paper and some colors sit on top. The ones that go into the paper, we call those stain or colors. The ones that sit on top. Those are more granular colors. And of course, things are darker in the foreground than they are in the background. Maybe, you know, a little dark shot through here. Just a little bit of texture c two is to break it up. Lightly touch it. Ever so lightly, gives you a little texture on the mountains. Maybe I'll try that appear. Yeah, look at that tree texture. Here we go. Let's give that a little break. Just add a little dark in that little corner. See what happens. Let's let that bleed on its own. Kinda echoes this side. See little spots of Dart. Let that sit for awhile. See what happens to always watch more than you paint. 12. Pine Lake Final Strokes: And notice I'm pulling the tape away from the picture. Look at that before and after picture. Got some white around your picture. It just makes it stand out. Almost like if you want to say, oh, well that looks way different. Here we go. Now what am I going to do? Well, these values are exactly the same, sort of a first-time way too dark and that take a little bit of the initial color, pop it in. Just a little bit here and there, maybe out a few, little, a little jokes like that, a few dots to give it some texture. I'm going to keep the bottom fairly light there now it's a little bit darker, so it's a little closer. At the further away things get, the less dark they get. I'm gonna take my little blue and I'm going to add a little bit of a AZO yellow. Think I'll do it over here. I'm going to put a little bit, a little, little strokes like this. Let me show you on the steel scrap piece of paper a little bit of green down here using viewpoint little green here, and put little green somewhere else. Now this is a difficult part is doing the branches here. So all I do here is I take a little bit of the Alizarin and a little bit of the cadmium. If you don't have cadmium red, it's OK. You don't need to use it. But I find Cadmium and Alizarin with just a spot of the Salem will give me a good mixture for branches. The pencil works really good. There we go. You know, sometimes tools just needed to be worked out. I'm going to put this branch in front. See ya, the pencil definitely works. I've used a stick pen in other, other classes. And oh look, what I'm doing here is kind of round. And now that I know, I think about it, pine trees when they get old and over spruce trees, spruce trees, the droop. So look what I've added here. Now I'm getting excited and that's okay to get excited, the roundness of the cloud is now being echoed in the roundness of this tree here. And now I can thicken up a bit at the bottom here. I can switch now probably to this Asian brush, which gives a very, very fine tip on it and hold it up like this. And just touch it. And that will give me a good line to see that. This is almost like the same tree, while it is only this one's not dying. So just adding little details to the tree. Remember we had little grassy strokes and looking at my pencil lines, you probably can't see them, but there's some pencil lines in here. And this little one, this one shouldn't stop here. I think I'll bring it passed. There we go. I can get a little bark texture with the side of this. Look at this. Just rubbing a little bit, see, rubbing through here. I get a little bark texture. Now we have trees, they're called standing dead. And that's what this is. And I want to add a little bit more cadmium red member I put it on before, but I'm going to put it on just a little thicker this time I have a little more here. And I think we're just about coming to the end of this picture. Going to take some peer thylacine now. And I'm going to add a few little darks in here again. Cl I just put the drop there. Not quite satisfied with this little mountain here. So I'm just going to add a dark accent. And maybe a pinch of yellow this time. Just on here because it's a little too blue. And you can see that I'm just talking little what we call glaze of yellow. Because it's warm. Brings the kathy mountain and closer. Dark colors always appear closer to. But warm colors actually come at us. They approach us. Cool colors recede. Dark colors come forward, and also warm colors move forward. There we go. I would like to make these clouds stand out just a little more. So I'm going to take one more little bit Othello and really thin it down. So it's quite thin. And I'm going to turn my painting upside down. Put a little wash so this will stand out more. Now. I'll come up here. And what I'll do is soften the edges also. There we go. And you can see I've just added a little bit of blue. Clean my brush. And though I want to soften the edge because clouds are soft, wood lifestyle a little blue just peeking in there. See that? Because it's wet now. There by can extend that part of the sky here, over here. And it's a little bit to bring that in a little more like that. Just get that roundness back in the cloud. There. I'd like to shape you're now a kind of walks into this shape, all these little adjustments. Let's go for a real juicy dark right there. And I'm actually going to mix it in here. Put a nice bit of really deep red. Dare do you see, you know, oh, now you say, well that's not dark. Well, it's a dark red. And I'm going to do a very strong orange, yellow, blue to the orange and red. And now I can add a really dark. Why? Your perception of color is always enhanced when you have a black or very dark color that's very, very dark next to a pure color. So whenever you have a dark color next to a pure color, you will create a colour effect. Take this brush that takes some as darkish color that I used here. And I'm going to just add it into the bottom of this one, just to add some unity to the tree. Now as you see, the dark really does it, doesn't it? Well done. Ok. I'm thinking that's good. And I'm going to call it quits. Because I've established what I wanted. Got some good darks here, darks here, scattered darks. This will dry. A little different. But there we go. I want to thank you for being in the class. If you follow the outline of this class and use it in your projects, you'll have great success. And you'll experience something that is called non frustrating art. That's where you actually enjoy what you're doing because things are working out. Well, good luck and we'll see you in the next class, which won't be too long after this one. I encourage you to post your class so that your other students can see what you've done. We're all here to help each other and remember one important thing, there are no mistakes in art.