Watercolor Landscape Essentials: Mont-Saint-Michel Abbey

1. Introduction: Welcome to the thrilling and captivating world of watercolor painting. As a beginner, mastering the Art of creating a loose yet accurate landscape can feel overwhelming and daunting. Where do you start? What techniques do you use? How do you bring your vision to life on paper? In Watercolor, Landscape Essentials, Mont-Saint-Michel Abbey, you'll discover all the essential processes and techniques you need to turn any photograph into a stunning and impressionistic landscape. With my guidance, you'll learn how to create a masterpiece that not only captures the essence of the scene, but also showcases your unique creative style. I'll demonstrate my entire process in real time, from the initial drawing and composition of the scene to the careful layering of shadows, light, and the final addition of details and highlights. You'll watch as your paintings come to life and your skills improve with each passing lesson. Join me on this exhilarating adventure into the world of watercolors. And you'll learn how to create awe-inspiring landscapes with ease and precision. Whether you're an experienced artist or a curious beginner, this class will equip you with the tools and techniques to unlock your full creative potential. I'm excited to get started. So let's unleash your inner artist together 2. Materials Required: Before we get started on the painting, I want to talk a bit about materials. So these are the ones that I use and I'm actually using 100% cotton watercolor paper for this particular scene. And it's cold press or media and textured paper. So when you touch the paper, you'd be able to tell because there is a bit of texture it slightly rough, medium or rough paper is completely fine, smooth paper. I don't really recommend for beginners when you're trying to paint landscapes. It's just a little bit difficult because the paper dries unevenly at times. And you can also use normal cellulose paper or just labeled watercolor paper, but cotton paper is going to get you the best results, colors, and layering effects. I don't use too many brushes in this particular painting. In most of my paintings, I don't use too many anyhow, so just wanted to show you the ones that you're gonna need most and just to be aware of. So these are watercolor mop brushes and as you can see, they have a larger belly. This allows you to pick up a lot of water if your painting things like a large area of sky, big area of grass here on one go. These are your best bet. You can completely paint a lot of these sections was just loading up a few times. Whereas if you're using a brush like this, you can have a lot of trouble. So these are your smaller brushes for detailing getting in small bits and pieces like tree trunks. So this year, typical round brush, it's scott, a smaller points on the head. And this is a flat brush, kinda similar. I use this almost in the same way as the round brushes gives a slightly different shape. And this is a fan brush which I used to feather in some nice little bits of grasses you can see here in the distance. And what have you. Now going over to paints? You can see my palette here, and I barely clean out my palette. But most importantly, you're going to need a few essential colors, cerulean blue, I've used that for the sky. This is just a bit of gray and perhaps a bit of purple mixed in there, like a bit of darker color, bluish purple in there. Okay. So but mainly got that cerulean blue, it's a light blue color you can also use and ultramarine blue and just watered down as well if you didn't have that over here, I've got quinacridone gold. I've also mixed in a touch of yellow ocher in there. So let's turn light, sort of yellowish color. Or some people use hansa yellow, that works fine as watch this very vibrant in the grass. I have got myself a combination of yellow ocher. We've got a bit of buff titanium, which is basically an off white color, and a bit of green can use all kinds greens here. I've got this green called undersea green. But you can use olive green, hookers green, that kind of thing. Also some of the darker colors here, basically just black. Or you can mix up your three primaries, blue, red, and yellow together in order to get a really, really dark color, just don't use too much water in there. This is a bit of white gouache is opaque watercolor paint. You can see here I've used a bit of it to put in these little flowers and nicely to addition at the end. And this is opaque watercolor so you can go over the top and it will basically be able to bring out some of these highlights I've added in some yellow as well. You can put in a bit of yellow, mix it in with the gouache, but if it Watercolor yellow and you can get some lighter yellowy flowers as well. 3. Drawing: Let's get started with the drawing and I'm going to put in the area just underneath the house, here in the back. And leaving enough for the flowers and bits and pieces here in the foreground. Now, I don't really need to drawing many of the files are all just a quick indication. I also thought I'd move some little bit more to the right. Thinking of making the whole thing of flower field is decide on that later. But I don't like green grass running through the entire scene, like maybe a patch of it at the back or something like that. But I wanted to look a little bit more inconsistent and a bit more more nature like less pruned. So let's have a look at what we need to draw in here. So there's quite, this is quite a lot of details and things out the back and the big things. Obviously the background buildings and then also these two buildings on the side of the trees are more just abstract shapes. We don't need to worry much about them. So I think what I will do verse it says put in this house here, okay, rapidly here. Putting it in. And don't have to put the old all of them in the same, exactly the same points as as the reference photo. What I like to do is it tends to just draw the little, right, right, but drawing the little points at the edges for the rooftop first. And then I connect the dots together afterwards. Another thing I noticed is that this side of the house might be you can you see a little bit of it sticking out like that. So I'll just put it in like that to give it a bit as 3D. Look there on the side. Pretty basic. You've got these two little areas here on the top of the roof. That's kinda please. I don't know what they are. Like. Bits and pieces on the roof there in the attic. And I'll just draw in the triangle, shapes, triangle and then a square underneath. That's all it is. It's always a little bit of a shadow running towards the left-hand side. I just indicated the British, no one there, a couple of window. There's also a chimney here. You can see it just come out through the roof here. And again, this is pretty good to get in a little sense of shadow behind it as well. These tiny little bits of darkness there help to imply that light source. Light sources coming from the top right-hand corner. So we've got a bit in for the house. And then underneath the house as well, you notice as a bit of a shadow there and then you've got a door or something. Where's it here? Maybe like a door there and another door here. Okay. Quick indication of that. We will some more later, some more details later. I'm also noticed behind this house there is actually a smaller one. Smaller, something behind they're barely see it but it's quiet. It's in the dark and it's behind that house there. So I'll just call that in. That could be something. I don't think with these trees that they do look good in the photograph, but I think they can, especially here, they just look a bit too uniform. So I'm gonna just change these trees up a little bit and just make them look a bit more clumpy. A large tree or something like that. Here on the left-hand side. This is interesting. I think there's a car here and I will drawing the house first. It's putting the rooftop start and rapidly about here. Get that triangular shape and three dots first and connect up the dots and make it easier for you to draw it more competently. Again, then it comes down. Variabilities. Left, left side thing over here, top of this rooftop there. And then we've got a lower rooftop here running towards the right-hand side of this structure. And of course is, I'm kinda car here. I will put it in kind of like the back-end of the car, simplified down like this. Maybe. You may or may not look like a car light up but something like that. Little something to indicate it and join it up a bit at the base, you get a lot of this grass and stuff running around as well, these buildings. So I don't need to really join too much of the details around the sides of the buildings. But you can see it here. Building their sum, all these shrubs, large shrub here, K sharp in the background. Remember to have some in the foreground what's in front of the other shrubs as well. So you don't have all of them. All the shrubs in the same the exact same place here on that right-hand side. I do like these trees and the sweat lodge, that one There's really large coming up and they joined together in this large clump of everything really just coming across like that. This trunk coming down here. There's another one, the growing off sometimes on little angles like that. Here's another one. I don't want to spend too much time drawing. I want to leave some of these detail for the brush work. Afterwards. There we go. We've got some of these stuff here, maybe not the Bush years on that. In the background we have got the buildings and this is a tricky one. This how much detail back there in the photograph. But I want to just simplify this down. So how can we do this? Let's firstly look at the structure in general. No, you've got almost like a rectangular structure here. For most of the building like this. The Red Cross. That there are some little parts of it like this. The rooftops there. They're very complex building can get Easy, Easy to get caught up and all this and start trying to put in all the little details here and there. But remember, we only want to get a quick indication of all this in the background, Okay. Because it's it's more of just more just implying what's their top part here. There's unlike another rectangular part there. Here. Here. Even we can just get in a few bits and pieces running down like that. And I also hear that we've got this kind of main tower. This is important. I just wanted to put this in more accurately there. Again, using a technique where you just mark out the corners of the object. Okay? And then we could do it here as well. Be that one. And let's have a look. What else do we have? Some parts of it also sticking up like that. Often the distance, not too much effort, of course, and it implies all the little details. Could, the top part is probably the most important. Okay. Look some little windows there as well. Putting a bit of this rooftop. Okay. I surely being careful not to overdo it because it can be can be a thing if you're not careful. Another large shrub here just to balance it out little bit. Those just a space in the center there that just needed some details. Okay. Of course, behind the house. No. I thought it might be good to just put it into a tree or something there. Alright, houses a little bit darker anyway. So this is gonna be good. We can go in there and start the painting 4. First Wash: Alrighty, So let's go ahead and start the painting in. The first thing I wanna do is I want to get in some warm colors, nice warm colors. Okay, because if we do this first and we don't have to worry about mixing in some greens we worry less about anyway. So here I've got a bit of yellow ocher. I've mix it around on the palette with a bit of this yellowy color, hansa yellow. Okay, don't want it too vibrant. And just a little bit of that yellow ocher running there in the background. Maybe a touch of this brown as well, but of these seep CPS or the burnt sienna, that okay. Just a quick little detail there for this. He's background buildings. The touch of that orangey color, orangey yellowish color. They're cutting around the house a little bit there in the front time is not a huge huge deal. Okay. Really light color as well. I don't want it to be too dark. Let's have a look around. What else can we put in there? Well, secondly, we have this house and bits of details in there. I'm just looking around in the grass, for instance. For instance, here we've got a lot of off-white color. I'm going a bit of buff titanium. Okay. I'm just going to feather in a touch of that there quickly. I'll come back to it in a moment, but just a little bit of that. Buff titanium and a little bit of yellow in there as well, buff titanium in a tiny bit of this yellow ocher. I like that and I'll leave some of the white of the paper exposed as well. Hopefully that can be used to imply some of these lighter flowers later on. So I don't have to do all of it. But what I like doing as well just had you're just going over the TI thing and this yellow. And the reason why is because it's very easy once you have a bit of yellow in there to start putting in some blue or a little bit screen and it just turns, just turned screen anyway. Okay, but this allows me to get in maybe some yellow highlights, lighter highlights running through this section so that it's not all the same. Green running through. Okay. There we are a little bit of that spray bottle, just give it a quick spray gear as well. Okay. I'm gonna put in a bit of color for this house, the top of the house. And I've got a bit of gray, just picks up, picked up some gray from the palette, and it's just any of your three primaries mixed together or whatever you have left on the palate. Water this down a lot. I mean, you're still using about a 10%, 1020 per cent of paints in this. But I do want it to be you want this house to be a little bit darker. Like this. Cotton around some of the white bits of the house and look, some of the background stuff is going to mix as well. Some of the background stuff we will mix. But I wanted to leave the right-hand side of the house illuminated a touch like that. Okay. Just a little slight illumination there. And we'll go and adding the rest of this stuff further down. Okay. Rooftop cutting around the that little structure on the roof. These two little structures here, like Windows. We're going to move downwards. That thinking very bitter care to put them in. Okay. You're all the, all the while. I'm doing this, I'm also looking at the I'm also looking at the reference photo and making sure that I'm matching, matching the tone, the value here so that it's not too light, It's not too dark. Alright, really important thing to do in your paintings. I find this Wash. You've really gotta just do it once and leave it. Bottom of the house is we're really just going to have some white left there. Pick, pick some of that up in a moment to have a look. This house here in the background as well. It's, it's a bit darker. So I can just go ahead and darken that down as well, like this, create a sharp edge on this house. And maybe some of it goes into the grass. My problem. Like that. Right. No issues. Just let it do its thing. This house and the left-hand side is a very similar color, but it's actually a little warmer. So I'm gonna put in a touch of brown in there. And just look, I'm just going to get in that rooftop. I don't want to mess around with these too much, but let's just getting that rooftop like this. You leave the right-hand side of it, also white. To indicate the light source coming from the right-hand side. It will go in and put in some shadows and stuff underneath it later, but I might just a quick darken that down a little bit down the base. Okay. Good. And wet some more shadows and stuff later. It's have a look. What else do we have to indicate in here? Well, look around. We have got stuff in the grass. Green and we'll pick up some green. It's dropping some green. Flicking a bit of paint to pick up something like this. Brush here, a little bit of little fan brush, pick up some green, use any kind of green I'm using undersea green, which is like a granulating green color. And I'm going to further some of these stuffing you that some of them may go into the house as well. Just a little bit here in there. That doesn't matter. Just little bit here maybe to join on with things and none of that you can see these bushes and stuff out here. Notice how they also have a little bit of light on them in a bit of green there we can drop in some here and using this also cut round, see these bits out there. I'm just going to cut around that side of the house so that we've got a bit of darkness there. Okay, Well, I don't want all of these to run up to high into all the air out the back. There's background buildings. I want this to definitely be darker though. Okay. There we go. Look, just putting in a bit of that darker color, getting it to mix and blend around a little bit there. This whole area in the foreground is all wet, so you can quite easily just pick up that brush and just flicking some color. Work with it down the page like that. This also helps to do, to create some little guiding lines are suppose of perspective lines. But I wanted it to look a bit more, just a bit more rugged. Let's put together in terms of the in terms of all those bits and pieces off the grass and perfectly manicured grass, it just looked too perfect for me. When I'm doing here is that I'm trying to indicate some darker areas of these trees, a bit of brown and a bit of black together. To just putting a touch of this. Hopefully to get it to blend module, we've still got the sky Wash left to do. But this is a bit of darker color. Let's again look a bit of black. If you don't have black, just use some neutral tint or something like that, that will work fine. I'm just doing this very quickly. I don't want to around in there too much and make it look make it look too detailed. Look at that. We've got a bit there. I'm going to be good idea to get into the shadow on the ground, just thinking what's best to do a little bit of it at the moment and come back to it pretty come back to it later. We needed another Wash later on, but the leaves pick up another bit of green and maybe mix some blue into it to create a way cooler blue, something like that. Just work this one out. Maybe be the cerulean in there. Okay. Good. If you've got a little mangled brush like this as well, that helps quite well. Just an old brush, you can just flick some paint in there and hope, we just hope for the best. But funny enough, the tends to just look more like leaves when you do it this way and more natural. Like that. There's little bits of something in there. Okay. I wanted to look more like that here as well. Look, you've got some more trees here and I had played around with this before, but let's just go in there and I'm going to use this same brush, a little bit risky because the brush is quite worn out, but I can mix this all through. No problem at all. A bit of white maybe on that house and it sticks out better. Okay, good. Look at that. It's all mixed together. And we've got some trees, tops of the trees. I've forgotten this one here on the left-hand side. I'm gonna do this one as well. Just a tree coming up on the side like this. Okay? And maybe bring it back in, dial it down here. Some of it went on, the Roof, doesn't matter. There we go. We've got to a tree back there as well. We've got some grasp. It's a grass and things you use well we can reduce well to indicate touch of that and even a bit a yellow into that green would look nice. Remember this area of the ground? The foreground here, it is still, it is still wet so I can go in and I'm just same as always, just feathering in a bit of color. At this point as well because it is slightly wet. It's not going to spread around as much. Okay. So when you going in doing some of these wet-in-wet technique, you'll wanna do them at different points before I put them in when it was quite still quite wet, but at the moment, it's more damp. And because of that, because of that, the brushstrokes look a tiny bit more sharper. But of course they still kinda mix together a bit. Okay, Just trying to go maybe some slightly darker ones in areas. Not too much, but preserving some of these really nice, nice yellows in this section here, we need to make sure we leave some of this stuff, okay? But I will mix in a little the green and things here and there. So that's not just yellow running through this whole COVID. Okay, good. Some more green. I really enjoy Witton bit painting. You can speed things up and you can get this beautiful blended effect that you can't get anywhere else. Here in the background. I also gotta be careful. Don't want to get rid of all this yellowy light there. We've got to leave some of that. So tempting, but yeah, some more darker green here or something darker and I'll just mixing some black into the green to get in some of these darker parts of the shrubs or what have you there as well? Like that. Here maybe. What else do we have? Just a bit off here and there. Okay. Alright, now let's get into some of the sky. I'm going to pick up cerulean blue. It's gonna be nice. No, I sort of warships cerulean blue running through here. The sky. Mixing up about 10% mix of cerulean blue and 90% water. Let's drop that in straighten the sky. You didn't notice there are some clouds here as well. So I can actually just pretty wet some parts of the paper like here, maybe here, here as well. And paint when I drop in that blue, It's, I'm going to just leave parts of the paper exposed and let that Wash run through your larger mop brush is gonna be better like this. Okay, really liked you want to keep that sky is pretty much as light as you can. Okay. I think that moving down, if it mixes in the trees a bit, It's not a huge deal. That air the trees should more or less be dried. Okay, but you will get a little bit of it going into the sky. And just the trick there is just to touch it and leave it. Just don't start rubbing away in areas of that tree. Little bit of that, dropping a bit here. Just do it very quickly and bring it down Here. Okay, Make it a lot more lighter than the base of it as well. That nobody here we come to these become to these buildings and things here as well. And I'm going to pick up a smaller mop brush. And I'm going to actually emphasize this even more and put a bit of extra blue here to create a stronger focal point for the building. Cut around it. It's already dried so there's not really much. It's not going to spreading there any way into the sky, but I'm see how I've just got an extra bit of blue there. That's going to create a stronger focus in that area. Okay, let's get rid of that funny bit of color that's dried. Dried strangely. Here, move this down. It's really just a lighter blue running down the page here. That would go still got some sharpness on top of the buildings, which is going to come out, create a bit of a contrast with the sky That enough of a contrast here with the trees. And it's blended in a bit, but don't worry about that. Cow. I think also what I might do is maybe putting some purple for the clouds. Just some darker clouds or something. Here. Let's try paint still wet so I can put in a clarity or something here. Just little little lighter inconsistencies. In fact, I think there's one on the right's probably bit too dark, but I'm just shifted off a touch like this. Yeah. He's one's a bit odd shapes so we can move this color around while the paper's still wet. And so you want to definitely work on all this stuff while the paper is still wet. You don't have to put these clouds and they just something I wanna wanna do that. Okay. It more blue, bluish color, purplish color. Maybe. You're going a bit of the brown. I just wanted to be greyish coloured not to dark. Okay. Another one there, maybe some smaller ones further down as well. Basic little basic little ones like this. Joining up things. Okay, good. Just makes, it, makes it look a bit more interesting because I've removed some details obviously from this painting. Okay, good. So these are all looking pretty, pretty decent over here. These flowers we're going to get some in with, with a touch of GE Wash later. I think what also helps is not just completely let yellow like we do have some dark yellows in there. I've got a bit of yellow ocher still when I can pick some of this yellow ocher up, darken it down with a bit of gray on the palette. And I can just try to flicking a few, few strokes in here, just running through and make sure you put them running in, in different directions as well. Like this. And these can be bits of grass and they also couldn't be the stems are the, of, these are some of the flowers later. You will utilize this later. Dry the brush off, pick up some of these slightly darker yellow. Flicking a few, few little marks as you can see here, the pages paper's still wet so it's going to stop, going to create too much of a effect anyhow. But with, of course, this really lighter yellow in the background, It's still going to carry itself forwards like that. Now here, here, some over here on the right. You want to put some flowers up here as well, which some more yellow in here as well. Okay. All this stuff you've gotta do. All the paper is still wet and you only get one opportunity to do it. I'm trying to give it my best while it is still alive. And being careful not to eliminate all of that nice yellowy color as well. Even some of these stems, if you look at them, they're actually kinda darker. Pick up a bit more darker, green and all feather in a bit of that as well. Okay. Variation in Mark's brush strokes values is what creates this illusion of depth and detail. Using different marks, different colors, but more importantly, different values. Let's how you're going to achieve a realistic look to all this. And we do have some time later as well for some sharper brush strokes, but this is just a bit. To get us started. You can also, while it's drying as well, pick up a little pocket knife or a bit of a credit card or something like that. And that actually scratch out some small details like these. Bits of grass, for example, like this. Just running through in the foreground. You can do it in background as well for some bits, pieces assuming it has not dried yet, though a lot of that has actually, so there's not much, maybe a little bit here you can do. Would have liked to have a few maybe running through the house, something like that. That's good. Okay. There's something there. They're just different marks really that will help make it look like there's some details, some extra details in here. But yeah, that part pretty much already dried. Maybe just around here, might be able to get a few little smaller, small little marks or whatever. Okay. There some of these can even appear to be smaller flowers, often the distance as well. Okay. So scratches through the paper. Okay. So it will remove a little bit of the paper at times. Don't worry. Okay. Look at that tiny look like they're little flowers almost out in the back. And we'll play around with the gouache and getting some details with the gouache as well. But just another way to create some marks on the paper, some interesting looking marks on the paper 5. Second Wash: Time to put in some of the darker colors and details with the gouache and stuff like that. So I will firstly, I'm thinking actually do work, work on some of the background buildings. First, I'm going to just pick up a basic gray color from my palate. Little bit of gray color with some maybe a bluish gray. Okay. Very, very light. There are some shadows on that building here in the back, but there's so light that you can difficult to tell exactly. Let's just find myself a small round brush, something like this little, tiny little round brush. There'll be this blue gray color. Okay, lets water. Let's have a test run. Let's try. Here. We go. That's good. It's about the consistency we want. Okay, it's a little bit of little bit of darkness where that building there in the background. I'm again, it's more just a background things so you don't that's why you don't want to overdo it. I'm just picking out some areas that I could potentially emphasize here. Okay. I'm putting little windows like that, but underneath that, that building here in the back as well. Like that. Fat the roof or something. Just small details but still quite light back there. And even the windows, a little windows at tiny and you're not putting on just one here. They're really back in the distance. Let's put in a bit of this top part of this tower that grade really like a simple gray. Often the distance and much to call home to a little bit of that. I'll leave that for now. Maybe I'll come back later and do some more. But I think that'll be okay to start off with now. And we'll work on this building here. There is a shadow underneath it. I'm going to pick up a bit of this gray again. Underneath the roof here, just to touch a shadow. Here. At 20 per cent paint. Rest water. Okay. It needs to be darker than the roof. Little bit darker than the roof anyway, like this. That across. Okay. A bit of that shadow underneath the roof that is come over to the right, but that doesn't matter. I mean, it's still fairly still fairly light compared to the rest of the painting, but I could darken it down, just touch more like that. I want to emphasize that shadow. Make sure that that just a little bit darker than the roof so that it sticks out better. But it's that maybe I put in a bit here on the some part of the roof top here Line or something there. Maybe here. It's tricky because you don't want to eliminate all that light as well. So you have to be do this quite sparingly. In this house as well. We do have bit more darkness underneath. Like they're not only that, we've actually got a car there as well, so it's cut around it in a moment, but here it's another part of the part of the building. They're good. Me leave that bit white actually. Okay. This car, I'm going to put in some extra darkness around the base like this bit of extra little bit of extra darkness. Actually to just anchor it off to the ground a bit like that. I'm going to leave CEO left the windscreen kind of exposed like that as well and maybe a bit of shadow running to the left of it. Maybe goes like a car that's parked in front, perhaps. Okay. Okay, Good. This kind of building in the background is actually also be darker. So I'm just picking up this same paint. Let's just darken off that building here in the back. Okay. Bring out the darkness in the building and the front. Okay. Good, good, good. Okay. Darkness and some of these other areas will grab myself a little flat brush and see if I can indicate part of the windows. Just a bit of black or neutral tint. There's some really dark spots in here that we can go ahead and painting. Wonder if actually the smaller round brush would be easier to do this. For example, here there's actually a bit of really dark shadow. See just running across the roof towards the back and marking out these chimney like that. Do it once here as well. I drawing this little shadow there, left side of that building like that. Use well, quick little shadow there. Couple of little windows here. Okay. Something like that anyway. Separate touch Line, they're smaller bits down the base like it could be a window or door or something there or he use well, just something underneath like that. And I'll blend in maybe some of these warmer color as well so that it just doesn't look too harsh. Be a window there or something. Okay. Some more detail here. And these trees and darker spots perhaps running through this stuff here. Here. Here. The trees. I can reemphasize with the beauty of this darker color. Just bring them out. Touch this extra detail. Branches or something. A couple couple of something. I don't straight up branches running up with where you have to do what they are, but you can he pretty dark under that building, if you look at it? Can actually just wringing out a bit further, more like that. Um, yeah, something like that. We'd put a doorway or something. He use something like that. Doorway. The sun darken that house and the back there touch to bring this one bring that one forward to more. Okay. Really just I mean, she's see what I'm doing here is just a little touch UPS and it's in pieces. The Majority of what we want is already there. Just darken underneath this roof here. Touch like that. Okay. Some more smaller bits of grass and things. I'm going to just dabbing or not Devin, but just pick up a bit of darker green paint. And this is what I'm going to flick in a few of these little marks here. This is to indicate the grass, darker bits of grass and things running here in the background. And bits and pieces. Because we do have some time to actually get in. Now since the paint has dried, that previous layer is dry to get in some of these lighter bits of color and sharper color as well. To indicate details, small little details this field. Okay. Just continuing on, you know, even a bit of a tiny bit of gouache in here would be fine as well if you want. But I probably leave a lot of that to later. As we still can get in some of these darker colored greens and things. Oops, didn't want that one. Just some marks, essentially just a fan brush is great for this because, just because you don't have to spend all day drawing the scene with each individual brushstroke or whatever. You can just flick that brush through and getting so much detail. What appears to be so much detail really, but it's not that combination of layering that allows you to do this. Okay. Good. Let me some some darker ones, maybe some slight few little darker strands or whatever. Running through here. You notice that the darkest, dark or things in here really stand out. Good. Okay, I'm going to play with some Wash now and pick up a little flat brush and let's squeeze out a bit of white gouache page and paint palette like that. You made to walk Wash and pick up into that white wash and some of the flowers highlights and things like that. So pick up just the white, pure white first and let's dab in a bit here. And then now this is to indicate these little flowers here that they come through the, all the way up here. Even larger ones as well as the largest clump of them here. I'm trying to get some more thinner ones that come across as more on an angle. Okay. The trick is, is just a dab that across the paper and be spontaneous with it as well. Nice little, nice little sporadic strokes of this gouache. Okay. I mean, you can already see as well that there are some other bits of white here that I'd left and that's fantastic. Like you want to leave that. Use that as like also indications of some flowers or patch of flowers or something like that. Less, less you have to muck around with the gouache, the better. Okay. We're gonna put in some other colored ones as well. I do believe this looks like there's some yellow ones in there and that kinda thing as well. So let's extend this out a bit more. Because I really think that it looks too boring with all the little which you call them those little the many cured grass off in the distance. If I can play around with some of this stuff and see how I'm also trying to join them on if possible, with some of the stems that we have here in the, that we scratched out before. They loose stems and things that's going to also help give, make more sense of these little dots, sporadic dots and things like that, which meant to be flowers, more white. And I've got a lot of white. And here I'm going to change the yellow and just a moment. But I like to like to go a bit liberal with the The white at first because we can always change some of these white ones to yellow. But to change it back to white, it's going to be quite tricky. So make sure using a lot of gouache little thick wash with this, I've got to be watered down. I'm going to squeeze up a little bit more white gouache. Even if you using it straight from the palette. That's probably best. So that it just doesn't, doesn't appear to Week stuck on like that. Some of these ones are tiny bit weak, so I'm just going over them again. Okay. Few little ones. Let's get some, a few little smaller bits and pieces, little little flowers and things here and the distance as well, and maybe even running near to the house. See here you can just pop in a few little indications of some flowers, little, little dots. Okay, Remember as you move out the back, everything gets smaller. So the flowers becomes smaller, less detailed. You want to alter your brushstrokes appropriately to make sure you're not overdoing it there in the back. Okay. You're making everything smaller and you're not being too precious about it. When you get closer to the front, that's when you need to detailed more. But look at that. Big for our field. I didn't actually anticipated do it across the whole flower field, but I like, I really liked this a lot more now. I think it looks more interesting than the actual, the grass itself. I'm putting them on top of these. So these imaginary stems that I painted before. And it makes sense, right? The one big one here. A lot of people like using masking fluid, but I don't I think it's an extra step that if I can avoid all, I'll do that. Hey, good thing that Wash is nothing that the Gua Sha is good for as also bringing back some highlights. If you'd lost out to touch on the house, I don't know. A bit of hues, something, maybe a bit of light hitting the top of the house there. You can just bring that back down the bottom, the base of the house as well. You can bring some of that back. Yeah. These tiny little highlights that just so important. When you've got a scene like this. I got what else have we gotten? Maybe touch a bit there as well. What else do we have on top of this building in the back? A little bit of white there. On top of this building here and maybe further down top of the car. You can even put in a bit of gouache, bring it back out. Let's add in a little bit of yellow. I have some Hansa Yellow. Hansa yellow is a vibrant yellow mix that in better hands, a yellow with my white gouache. And there'll be able to get in some yellow yellow flowers. She changed because that's the I'm just trying to save where we can just see you can change some of these two yellow. But which ones? Well, I go through and I'll try not to make them all to close to each other, but I'll change a few like this. This can also be used as a compositional technique to move the viewer through the scene. See, it's because your eyes are going to follow some of these different changing values and colors. So I can put some of the yellow starting off around here and then slowly moving through the scene like this to encourage the viewer to look through and Work, work their way through to the right side of the scene and maybe towards the left. Like that. Yeah. Yeah. Get a bit of gray or something. Can I just flick some of these? I'm just going to draw in a few extra stems or whatever, but I think that's not necessary. Great. So finished this one off