Watercolor Landscapes For Beginners

1. Introduction: Hi and welcome to watercolor landscapes for beginners. In this class, I'll show you how to sketch and paint a watercolor landscape in as little as 30 minutes. I'll talk you through in real time the techniques I'm using such as wet and wet and wet and dry. I'll also show you how to simplify and sketch, as seen in pencil. Watercolor techniques are really important to help familiarize you with the essential watercolor techniques. We'll be going through variety of exercises in theory. This class is aimed towards beginners with eight full landscape demonstrations, which I'll help guide you through step-by-step. Their skins, drawing and tracing templates included for each demonstration to help you transfer your drawing over quickly and easily. In this class on your right, my demonstrations in real time. I explained every technique I used in the context of the painting, such as layering into wet areas to paint shadows of a tree. I'll be going over the basics of wet-in-wet watercolor painting. I'll talk about what materials you need, your options and which ones I use and recommend. You have some brushes, watercolor paints, and paper. When you sit to go join me in this class, Let's create some beautiful watercolor paintings that you can be proud of. 2. Watercolour Techniques: In this video, we're going to be talking about a bunch of techniques. And I'd like you to follow along with me and try some of these techniques because they're going to help prepare you for somebody landscape paintings that will do afterwards. So these are the essential techniques that I think are important when you're painting any Landscape, any kind of watercolor painting. I think wet and wet and wet and dry there basically the essential ones you need to learn. There's a few others that I might touch on as well, but let's go through and do our wet in wet, wet and dry. So I'm just going to draw a couple of quick little boxes here. More suggest to indicate the frame. If you're painting on a large sheet of paper, these little studies have fantastic, okay, so a couple there just like that. Now what I'm gonna do, I'm just going to pick up a little mop brush, little watercolor mop brush like this. Firstly, what I'm going to do is just wet this area with a bit of clean water. There's actually some waters a little bit dirty, but that's okay. I'm just going to wet this area completely. On this other side, I'm going to wet the area. But what I'm gonna do is just put a little bit of light painting. For this one, I'm just going to use a little bit of light blue. And you can see in both cases we have wet areas of paper. Now what we can do is while the paper is still wet, we can pick up some other paints. So I might pick up, say, a bit of blue or a bit of purple or something. And I can drop that in. If we want to paint some clouds or something like that, I can drop in a bit of that, a little bit of that paint if I want them to look a bit darker, like this sort of darker clouds. And you'll notice that the 3. Colour Mixing: I want to talk a little bit about color mixing. Color mixing is important because you're gonna need to understand how to create lots of colors and dark colors, variations of colors when you're painting trees often with trees is going to be different. College trees in there as well. So some may be little bit more vibrancy, green, grass might be more green or, or, how do I create different types of the same color? How do I mix my primaries? Now? Firstly, I do recommend you only start the primaries if you have other colors in there, treat it as a bonus with fewer colors. I think it's just a bit easier. You don't end up The too many variables and getting confused. So we've got our primaries here. So just for example, I've got here a bit of Hansa yellow. What we can do is just a little tonal exercise as well. So we'll see that is pretty much just a yellow picked straight off from the palette. If I add a little bit of water here, keep bringing that water over to that right-hand side. You'll find it just goes off to me. There's nothing. Just fades off to almost nothing here on the right-hand side, we're still very light, even at full strength straight off the palette. Let's pick up a bit of red. So good, a little bit of red here, and it's straight from the palette again, as dark as I can get it. And you can see that red is a lot darker than that yellow at full strength. Let's add some add some water to that red. Notice here I'm just going a little bit of that red on my palette and mixing it and just carrying it down. Cheated a little bit. I just pick the water straight off from the container. As you get more experienced, you can't get away with that, but I do recommend doing that. Doing it on the palette for your benefit. Just a lot easier this way. And even when I'm doing paintings, I find that I do this a lot more just allows you to get a bit more control and accuracy when mixing water, diluting the paint manually in your palette. You can see that going from a lightest value and you've got a dark and value here. Yellow has got the largest value than reds got any kind of a dark evaluate, then the yellow. But check this out. Let's pick up a bit of blue straight from the palette. This is ultramarine blue. It's so dark compared to the red and the yellow at full strength. This ultramarine blue is what I would call a high range of values. So you can go from really dark all the way down to super, super light, almost as light as that yellow. If I dilute this down enough, of course, I can go in. Let's just lift off some of these paints. Bit too much on here, more here. And let's just get almost pure water to just bring it across like that. More as dropping a bit more paint and just sort of get it to mingle around a touch. Having a look at these three primaries, you can see that the blue has the highest range of values. Reds assess second-highest range of values, and yellow has the, the lowest range of values there. Now this is important because you will find that when you're painting shadows and dark areas of the painting, that kind of thing. You're not going to use yellow by itself. You're going to use perhaps a bit of blue mixing red to make it kind of purplish color with a tiny bit of yellow to kind of gray it down. You might make a green with blue and yellow. So a really dark green you can mix. Let's have a look a bit of the ultramarine blue with a tiny bit of that yellow, I can make myself a pretty dark, pretty dark green here. It's a dull thought of green like that. But it does the trick. Like that. Larger range of values here. You also find when you're mixing colors, mixing the colors at different quantities will create a slightly different variations. So if I try to mix a green from the blue and the yellow, I use mostly yellow. Let's use mostly yellow and a tiny bit of blue that we've got a almost like a lime green color, don't we? There's like a lime green color. This might be good for painting grass, maybe leaves on a tree, stems, stuff like that. But it won't be any good if we're trying to paint dark leaves, stems, and stuff like that. So you've got two different greens that we've got in here. Again, if you use a high concentration of blue with the yellow, you're gonna get a really, really dark green. And you can probably get it. This dark. Almost goes to a phthalo blue color like this. She can get something like this. More of a bluish bias in that green, whereas this one is more balanced, this one is more as a yellow bias on it. There's been many variations of green that you can make just with your primary blue and the yellow combined. The same thing goes. When you're mixing yellow and red, you can make a nice, nice sort of orange there. You can mix your blue and red together to make yourself a nice purplish color, a case something like this. Let's just get a bit more of that blue and the red just mix that better like this. Can you get a nice little purple color which is very dark naturally as well. So that's a great, I find that purple is a great shadow color. If you've got some yellow on the page as well, where it forms a great a complimentary color to the yellow. This is the basics of color mixing. And every time you mixing color, I always want you to look at how dark this particular color is. Look at the value of that color. So ask yourself, is that light, is it dark and k, because if you painting, if you're looking at a reference photo and you're trying to paint something that's darker in value, you're going to want to mix some of these darker values. If you want something that's lighter, you either want to dilute these down so that it's really, really liked, or you want to pick some colors which are naturally lighter. So you'll find, for example, with grass that's in the sun, you're going to need to mix up a really light green or light sort of yellowish color. I tend to use yellow ocher for that or just mix it a little bit of gouache into the yellow to dull it down a bit. For shadows and things like that. You might want to start mixing in all your primaries together to get a grayish neutral color. You can also use some of the bluish colors or purple colors for shadows. That kind of thing. It's about all I really want to talk about in terms of some of these techniques and some of the color mixing that we've gone through. So let's get started on some exercises. 4. Simple Landscape Sketching: Okay, I'm gonna start here with a simple sketch. And it's gonna be mostly just sky and he's the horizon line. The horizon line is the point, just an imaginary line here where the sky meets the ground out of the land. Put a few mountains. Just some simple, the simple mountain scene maybe with say, a tree here. Just little tree coming in like that. Maybe another one here. Some rocks, quick little rocks or something like that. We can already get started. So I'm going to wet the area of the sky first and let's just pick up a bit of blue. And this is just some cerulean blue. Just a bit of cerulean going through the sky just like this. And I'll bring that around like that. Bring that down here. What I'm going to do is let's put in some clouds and get in some purplish looking sort of clouds. I can also mix it, mix it with whatever I've got in the palette here to make a grayish color. Okay? Just to some nice soft clouds like these. Two. I think too tricky. Bit more purplish now. Just a few soft clouds that you can practice with drop that in large sort of cloud shape. Sometimes near the bottom you'll find that they go lighter and smaller as well as say, make these clouds at the bottom and a little bit wispy or let's put in the mountains in the background. I'm just gonna pick up a bit of bluish color and drop that in like this. Yeah. Just melting into the sky as you can see. Like that. Um, I'm gonna get a bit of green and just get the rest of all the scene. Just bring down that green. It's almost looking like it's quiet. Almost like it's getting darker in the day. Maybe you almost evening for these particular theme. Can just bringing it down. Just like that. What I'll do, I'm only let this dry off a little bit. The area of the sky though I can probably get in the trees, I can just pick up a bit of neutral tint, just drop that in. And you can also wait for this to completely dry if you want more control over the look of the, the branches because what I'm doing as I'm putting in the branches, but they're going to spread. As you see, the branches will just start looking a little furry. They melt into the sky wash could still win, of course. We can also play around and get a few more trees or something here in the background. Like that. Seeing that this mountain in the background is kind of not going through to well, so I'm just gonna give it another quick watch like that. That's better. What we can do is start getting in maybe some shadows for the trees. We can have some shadows going left like that, just a little bit of a shadow like pattern, they're called these rocks. And making sure that you are indicating that same pattern for the rocks as well. Going to the left, that just picking up whatever I've gotten the palace too dark color like this. That's a very simple little landscape. Let's try another one. I'm going to do one with water and sky. Maybe some boats. Maybe some boats. Putting in a new indication of some here, maybe a bit here. That something pretty simple. I'm going to go in through the sky getting in a kind of bluish color. The top, this is just some cerulean. Bring this down. I come down, I'm gonna get some yellow and drop that yellow in straight into that spirulina and bring that down so that it kind of looks a bit like a sunset, maybe some red here as well near the near the bottom bit of red. And I'm cutting around the boats little so I can just leave some of them. You can just leave some of them white as we come down into the water. This is where we also just wanted to mirror what's in the sky. So again, just a little bit of this red here that just goes into the yellow, perhaps like this. The rest of it is just blue and I'm going to use ultramarine here. Just to a darker wash of ultramarine and blend that in with this yellowish color like this. Blend that all the way downwards. Just coming to get to getting a darker, cooler color down the base like this. I can also pick up bits of other paints and just drop in little repos like this in the water here. Just a few little ripples. While the paint is still wet. I drop that in like this. Make the riff with smaller off in the background. You want to indicate some land or something out in the back. You can do this sort of thing, just dropping a bit of paint around the edges of the boats. And you can even create almost like a mountain range or something off in the background of cut around the boats might have a bit of color at the base as well. Just going to leave the top. Very simple leucine as well to help you get started. 5. Mountain Landscape Sketch: So what we're gonna do here before we get started on the demonstrations, we're gonna do some exercises and just some sketches to get used to painting some common landscape subjects, things like mountains, sky, trees, perhaps a bit of grass figures, maybe a building here. This want to combine them together and I'm just going to create a few of the top of my head at the moment. Now, one thing you want to do when you first start out with your painting is separate the skier from the ground. So this is what we call the horizon line. This little point here where the sky meets, meets the Earth. I'm going to draw in a few mountains, perhaps off in the distance like this. Just a few distant mountains. We can put some that are maybe a little bit closer that we can just imagine maybe this is all just grass or something like that. We can have a tree here running in along the side here. Notice how quick I sort of sketch this in as well past we can have a figure here just to sort of practice figure drawings. Now, I tend to just draw the figures with a bit of a rectangle, oval shape for their heads like this. The body almost like a, another round or rectangular shape. And then the legs just to kind of triangular shapes. Little triangular shapes that joined together or apart if the figure standing still there, just something simple like this. Now, what we want to do first is I'd say, let me just get in the skies the easiest part and often the lightest part of the scene. So if you get the sky and you know, you need to go very light, then work your way down. So you got to be careful with this section. I'm going to pick up a bit of blue, just a bit of cerulean blue here. Very light, very light wash of blue here. There's not much in there besides just a touch of cerulean. I'm gonna move that across the sky like this. And what I will do as well is I really think it might be nice to just put in some clouds and purplish looking clouds running through here. Just some something like this. This is just a bit of purplish color that I've got. Just see if I can add in a few more and notice because I've still left this area pretty pretty wet. We can get in these clouds quite easily. Soft, sort of wet and wet shapes for those clouds. I'm going to go into the background mountains as well. We're going to use a bit of a bit of bluish paint. Just drop that in for the mountains and I'm hoping it's going to create a softer edge as well near the sky because the area of the sky is still wet. Keeping it pretty light. That mountain needs to be pretty light. Still. Just coming down here. It's another layer of mountains in front. So what I can do here is just pick up a bit of a darker paint, just add a bit of neutral tint into this mix. And let's just add that in. I'm not putting perhaps a bit of green as well. We would have green in this section. There we are, there, we have it just a bit of green here. Neutral tint color. And I can blend that in a little bit with the mountains in the background coming down like this. All right. We're going all the way into the foreground now. The mid grounds are basically in this point, what I'm going to do is pick up a few bits of just a bit of greenish colored paint, and I'll mix it with mixed up a lighter green color. Let's just start off with a bit of this lighter green color. I'm going to carry this washed down. Notice that I'm not too fast about. I'm leaving some white spaces in there as well. Okay, to leave a bit of white in there, it kind of looks interesting, makes it look like there could be a building or something back there. I'm working from top down, carrying this bit of paint down like this. The other thing I might want to do is perhaps adding a bit of yellow here at the base. Just got a bit of yellow ocher. And Hansa yellow here as well. Somebody, if you feel like it's getting too vibrant, you can just drop in a bit of grayish paint as well. I'm just going to shift this down like that. We've got some warmer color. Just like that. We've got most of it. In in fact, in what I like to do as well as while the paint is still wet, you can pick up a bit of that purple palette, just a bit of that dark purple. And you can drop in sort of bits here on the ground. This could be a shadow or something that's just from these clouds. I'm coming across the sky like that and maybe some smaller ones off into the background like that. Little cloud-like effect. And the shadow is from the clouds across the ground. Could just indicate some, some undulations and bits and pieces here on the ground doesn't matter. Or Witton, weird as you can see, and I can drop in a little bit of brown as well. That works too. So we've gotten most of the bits and pieces here. And sometimes I also like to scratch out a little bit of paint. So if I could have little blade or something like that, I can just scratch off a little bit of paint and you could have wait until the paper has almost dried. And you find that there we go. That's what we want. Something like this at times just a little bit of this white showing through the paper. I can just scratch in a little bit like this to create a bit of texture or something here. Not necessary, but it's just, again, a quick technique that you can use. We've gotten a lot of details already. Final bits and pieces here for the sketch. The tree that we put on the left-hand side, maybe the right-hand side might put in a tree here on the left-hand side some of the figures as well, deciding on where the shadow goes, I think will make the shadow go a little bit to the left. What you need to remember with trees is try to hold the brush near the end. Here's an example. I'm just going to be brown here. I'll put in some neutral tint into that brand. And I've got that holding the brush near the end like this, that allows me to get in a better indication of these branches and you want to do is just make the branches go off in different tangents and they split off into two, sometimes three bits like this, the trees and not always upright as well. You might have a tree that's growing on a slot like this as well. Little bit of shadow underneath. And if you want to put in some leaves as well, you can go in and pick up some green and just drop in some around the branches. And you can do this before you put in the branches. We can do it after. If you do it after, you just got to be careful that you're not removing all the browns. So you've just got to go to take a bit more care kit just a few little already. Strokes of paint like this. And of course you can change it around later and dark and as well. So say if I want to add a bit more dark is some of these branches. Here. It is just a little bit of this darker paint that I'm using now. I'm using the edge of the holding the brush rot at the end like these. Able to really get in quick indication of what's happening. Of course, you've got a little bit of shadow here on the ground. I'm just imagining that the light source coming from the top of the scene and incorrect please, and put it in a little bit of grass. Know, what we do is just pick up a little bit of darker paint, little bit of darker green paint or whatever. And just putting these little strokes like this every way like that. We've got some figures here in this side and then it's up to you what you want to do with them. You can leave them white. It can be wearing white shirts and then you can put in a bit of darkness with the legs like this. Darkness Pepsi just standing here together putting a bit of shadow underneath them like that. Sometimes indicating some of the hair is good as well, just to give them little bit more structure. Put a bit of detail on this person's shirt like that, some stripy shirt or something like that. You'd read for the faces there. It came maybe a bit of blue for this person's shirt like that. We have a few, just a really quick little scene that we've just put together. We've gone through how to paint the sky with some wet in wet techniques. We've started off with a cerulean blue for the sky lights really in blue. We've dropped in some purplish colored, purplish, grayish colored clouds into the sky area I've dropped in the background mountains which are quite soft with a cooler color, dropped in another row of mountains in front carried this washed down with a lighter green and yellow here, while that's all started to dry, I've scratched out a bit of scratch out a bit of paint to create some texture. Also added in the trees because this part of the sky had already dried and added in these two figures. So that's one exercise. Let's go ahead and start. The other one. 6. River Landscape Sketch: For this exercise, what I want to do is do what kind of river scene? So we can start off with the rib them maybe coming up from the back forwards and just going all the way out towards the front. Like this is more like almost like an overhead scene. We can get in some trees and things smaller than overhead looking. Kind of seen some examples of some trees here. Of course, we could have some mountains off in the background like this, Mountains. Something simple like that. And we can put in indications of a house or a cabin like that. Just a little rectangle. And then the roof, little rectangular roof and then a taller rectangle for the bottom. You can do these little places like that. They just indicate. You can also get in sort of indication of it looking sideways like that. Sideways facing house or something. I tend to leave these white and then I'll go through and actually get in some additional colors afterwards. So let's go ahead and do the sky. First. I'm going to pick out for the sky. I'm actually going to just use Let's do what kind of sunset scene. So if we go with some cerulean up top like this, just a cool color. Nothing, nothing out of the ordinary, just something cool like this, nice and flat wash. And I'm going to pick myself up a bit of this orange now, when that in, drop that orange in like this, it just blends. This is just creating a graded wash. As we go down the page. Got a kind of blend between the blue and the orange. Here for the mountains. I can start putting in some colors for the mountains. So I might grab bit of this purple that I've already mixed up and let's just drop it in like this. Just drop in a little bit of that bluish purplish color, pick up some more blue actually, because of that sky is already wet. You can see the edge of that mountain is quite soft in the sky. That's what I want. It's going to help to push it backwards a bit more. Now what I'm going to have to do is make sure that this bit of water also has a bit of orange mixed into it like this to reflect the sky. And as we come down, I'm going to drop into the middle more blue to reflect the top of the sky. So we're gonna go from cool all the way to warm up top like that. With the trees and things here at the bottom. I'm just going to go ahead and pick up these pre-mixed green that I had already mixed up before. Again, this little bit here you can see these tiny little facts and things. I can cut around them. Create a little bit of light around for the rooftops and the sides of the buildings. This is just a light wash of of green. Probably want it to be a little lighter. Actually, me put some more yellow in there. Like this. Just lighter. I don't think I've done it a lot enough on that right-hand side, I can lift off a touch of that and just bring it over. Notice how I'm also leaving some little white bits near the river and not coloring it in everything in this way helps to draw out the boundary of the river as well, this stream. And look at that. So we'll just sort of blends together nicely. And this bit is already starting to dry as the paper musings quite thin. And what I can do from here on is start putting in some DACA mountains. This is still wet and wet work. But you can do this wet and dry as well. So say for example, it's fine if Dr. bit maybe here, that's sharp looking one. But I find especially with some of the really distant trees and things like that, if you use wet and wet technique, it actually pushes them back, makes them look further further back in the distance. I can't fades them out as you get closer to the foreground, that's when you start using darker colors for the trees and more sharper shapes as well, like this, sharper boundaries. That's another one here, coming in, few bits and pieces here. Few more here. These are sharper sort of bits. Sometimes you get little reflections on the water as well. Like that. Quick little exercise. Good to put in some little ripples on the water, often with some bluish color. Let me see if I can get some bluish color here. Cool reports along the surface of the water. I'm going to just drop in a large branch coming in from the side. Now this is quite interesting because you can just go straight in like this. Remember using the edge holding, holding the brush rod at the end. To do this. You can get beautiful. Calligraphy like brushstrokes from this technique. Gives the painting a sense of depth as well. So it makes it look like we've got is tree in the foreground. Then in the background we've got all this soft softness in the background. We can go in again with a bit of this darker paint and I'm not going to ever do it, but a little bit more wet and wet here to create some darker trees and stuff like that as well, especially near to the foreground. You can just create a bit more darkness there if you'd like. Something like that. Little birds as well in the sky sometimes I find that helps to just bring together the sky and the land. Join them up a bit more. Just a few quick indications. We have it. Very quick little landscape sketch. 7. Country Scene Sketch: Before we get started with the full painting, what do a preliminary sketch of the scene and find this really helps to plan out the composition and simplify down the details because often when you paint directly from a reference photo, this additional challenge of trying to reduce down all the structure and pick and choose what elements of the composition you want to include or exclude. So sometimes if you do it separately, you're going to find that it's certainly a lot easier. You only have to focus on one thing I'm at a time. Then you can use your reference. Drawing should loose sketch that we're doing now as a reference to your painting. Let's go ahead and give this a go. I'm going to have a look at what I want to put enough. I think you want to get a bit more of the sky and that's something that I feel would be a little bit more balanced out. There's a lot of rolling hills and things in the mountains. I feel like I just want to flatten them down a little bit. But what I really love here is just this foreground. So amazing foreground of yellow sort of grass or bits of wheat or stuff like that. Here in the foreground, you can see, I've drawn a general line there. And then around the middle of the page, there's kind of a line that just goes up up into the 1 third of the page here. So it's more of the hills and the midground. I am actually going to try and reduce this down a little bit. Let's see if I can just reduce that line down a touch like that. I'll flattening out a bit more. It does. I'm making it go up still, the edge up here. So from here to here, but I'm just reducing the incline of it slightly. Another thing we want to do is put in some indications of the trees. You can sort of just add the mean as these oval shapes generally wherever you want. But one of the most important things I think anyway, is trying to plan out rare. You want to put these little houses and you don't have to put all of the mean. But I do find that they just add a little bit of interests in the scene and I often need to reduce them down to make them a bit more simple as well. For example, this front of the house here, there's like a little house there and I might this might just be the edge of it like that. But a lot of it I'll say is just gonna be trees and things surrounding it quite similar as the reference photo. You also got a longer kind of house here or bond that. Again, little triangle like this. And I'm just going to elongate that one out to the back here like that. And we know that it comes down here, here. The base where the ground is. Simplify that down a touch, a little bit of darkness. I'm trying to look at the shadow pattern as well here, I'm thinking I might get a sharper sort of shadow pattern on the roof like certain not on the roof but at the base of the building like this. Thinking whether I would get a kind of gradient shadow or perhaps skip that shadow in almost entirely like missing. Imagine that light source may be coming from the top right-hand corner or what have you. So this might have a bit of a shadow here like that and a bit of a shadow like that. Just thinking about that light source, where do I want to place that light source? So I'm thinking that would be pretty good. We leave that roof white, the rest of it like this. I can just print a little bit more detail, a little bit more contrast in here, the shadow perhaps on the ground here too. I'm thinking this one might need a little shadow as well. Something like that. Will be, this will be interesting bit of detail here. I think this one might be a little bit of lots on the roof. Well, and just a shadow coming across unit. You can go ahead and place things like windows and stuff. I'm just having a little play around here to see where where I want to go and see what might look good and whatnot if we add on windows and doors and stuff like that. Here you can see there's actually little bits of bushes and things here. Another thing to keep in mind is this kind of plot that goes in all the way here It's gonna pass or it's a road. There's all the way in from here and it curves around and goes off into the distance. So it kind of goes all the way there and then curves off into the distance. Sort of like that. Let me go and it's kind of like what highlighted path. I think it's more for the indication of light and to help also break up. Break up all these softness in here, which is going to be a big, big thing. Lights are on. So let's put a little tree here, just going to color that one in that little bit of a tree here, knee and just color that one in here is well, just giving these, some of these trees at a touch more. And presence. Suppose in Cuba's even probably a house in there as well, which I'm not going to bother with too much. You can see these smaller hedges or bushes here near the roads as well. The interesting thing is that they cost a little shadow towards the left. I quite like that, so I'll get those in. We don't indication or something like that. There's a little hill there. And then you can see here on the foreground is like softer, softer sort of bush. But a lot of this stuff here, just like little, little flowers and most of it just this nice, warmer hey, looking color in there. You might have some little trees or stuff in the background there. And you can pop in as well. This is where things get interesting because it gets, we move further up into the background and we want to leave some of that sky. And so I think I'll probably get in the mountain all the way up here. Let's try to get something coming down like this joining onto the hue. Just a few that may go up and connect on as well with these other ones. Like that all the way out into the distance, something like that. And you can see here a bit of this. The slope of the land, the midground area. They really outlined the AS some areas of the house like here underneath the rooftop and stuff like that as well. That can be good. Give it a bit more of an impression. Again, just looking at where I might want to play some smaller bushes and stuff like that as well. Deleting cues and things here in the background and very soft looking that you can barely tell. The interesting thing is they create the sense of depth in this scene. And you can even see some soft elements here like the soft and looking trees. And even at the back there is software sort of trees running out there, which is really great. Probably the one thing that I might introduce here, thinking of it, perhaps a figure walking into the scene, a little bit of further up, but maybe over here, just walking. Walking into the scene perhaps all the way in the distance. And this whole area is just grass. Grass genus. We might have another person even here just next to them. Always like adding figures and then they add a sense of depth and make it look like as a bit of a story as well. Test except I'm fairly happy with the sketch. I think I will continue with it. And let's say, let's give it a go. 8. Country Scene Drawing: I'm going to get started with this drawing and I'm going to base them on the sketch I had done a little bit earlier. Also got the original reference photo ups so that I can pick and choose what elements I want to include. Again, if there's anything I feel like has been missed out, but I feel the what we planned before was quite adequate. So I'm going to just really get in that area in the foreground again, that little bit of grassy area. Super light. I don't want it to be too much lawn at all. This is all going to be soft in watercolor, wet into wet and we get in, get into business. Start going on with this second midground hill. They sort of sharp comes in roughly just below mid page because we'd shifted, shifted it a bit earlier. And we're going to bring that up on a slight incline to roughly about above the middle part of the page here. So you're starting below the middle point of the page here, ending just above the middle point of the page. Here. It's going to give us a little bit more room to play with when it comes to the when it comes to the, what you call it the hills and the back of the sky. So I'm going to start working a bit again on these little buildings and I'll start with that. That one here. This is the house that I can see here. There's a temptation to make it more complex, but I don't want to do that. I'm going to keep it quite simple. And just as in the reference and also in the preliminary sketch that we did before, just the front section of the house. Like that. This is all kind of almost all in darkness, but you might have a bit of a shade going across. And then a little bit of the rooftop like this, I think would be a good idea. You just increase the roof touched to the left. Let's see how that looks good. Actually, I will just erase that, make that big of a roof a little bit thinner. There we go. So that's kind a little building there. I'm going to just put in the other side of this building, which is kind of longer, kinda coming out to here move must have a bond like shape, connect up the bottom of the building as well with the ground here. You can see I'm putting in leaving in the top of the building. Leaving out the top of the building. So not shading it or anything like that. But carrying rid of that shadow towards the left-hand side. Again, you can go in and starts emphasizing An areas of the building like underneath the root talks like that. You might have extra details and I sort of zoom into the reference photo attach at times so that I can draw out this little few extra details. It is required at times to do that. But again, it's up to you how much detail you want to put in there. I kind of want to because these buildings, probably the only buildings and these entire scene, I feel like I want to get into a bit more touch more detail in here. I did this out of that building here. Sometimes you do have to restate things and also draw out additional shadow areas. Mainly I just wanted to get these sudden, these bits of the rooftop to stick out more. Because I know when I start putting in the trees and stuff, they can they have the tendency to just disappear into the, into the back of the scene. So a couple of little houses like that. I mean, there's even something down here. It's quiet, subtle, but you can see there's a couple of geometric shapes here, which we might be able to just get in there as really, really basic indication of something there. But again, I'm going to play to these trees a little bit more actually. Let me just zoom out a little bit in the reference and just refer back to my actual sketch as well. So this again comes down to what you, what you'd like. I mean, I'm just going to draw a bunch of these trees. He's a tree. He just kind of the shapes you want to make them look like they round dish, not to round, but Basically a shape like this. These will form a bit of shadow to the left and they also help to draw out the buildings. Because you're going to have a bit of darkness behind which help create a sense of sharpness for this rooftop here. This actually, if you have a bit more of this darkness doc sort of shrubs and things going behind the rooftop. You can have this lovely shops sort of effect going on. So go ahead and do that. Little bit more. Some shrubs here coming around. One thing I want to do is make this treeline here a little bit more erratic and not erratic but more randomized, I suppose with the trees, I do find that the reference photo has the mole and the same sort of heights. And I want them to look a bit more interesting. Of course, this little road that we can see that comes in Firstly, it's a bitter that human comes in like these. But there's a road that runs in the side like this. Maybe stops like about here. Takes a turn and goes back in and just disappears off into the distance somewhere like that. You do it quicker. It tends to look better for whatever reason. This will have to just be an indication, will wait probably afterwards. Once the watercolors are in and just try to remember it, it around a bit of this area, a bit of dry brush. Again, there's a bunch of these little shrubs here, which I really like. And I'm going to just draw a few of the mean. That's good. A bunch of them just circular shapes like this. Great thing again is that they have this sort of shadow that runs towards the back. Like that. A lot more interesting and will create some contrasting areas with these lots of bits and pieces in the foreground. 20 bits and pieces like that type of look. Another bit of shrub here. You can pick out individual trees that you might want to draw attention to you like this one which has interesting shape and it's a lone tree as well. I can get a bit more detail in for that one. Kind of cuts around that road and stuff. You've got trees behind this house over here. Bear in mind that a lot of these bushes and stuff like that, although I'm drawing them in now, you don't necessarily have to draw the mean and you can actually wait until later on. And if you remember to put them in off the woods with a bit of wet and wet paint, you'll be fine. Me. They kind of just a memory reminds us to continue. Put these in later. Looking here in the background again, we know we've got these little edge here that forms inclined just going up the hill. Behind that back to the trees kind of thing. Here I'm going to start working on these mountains. I don't want to leave it again, just leave a bit of sky up the top. And I want to leave probably about these much sky that may be a quarter of the page. Just go in and we can have a bit of fun with these mountains. And, um, great thing about mountains is that you can have a lot of leeway. You can change things around to however you feel fit. Then we go to this one and we might have another one running through here and another mountain just running down into here. Of course, there's bits and pieces running through the hues in the background and the distance. Like farming area, segregated and cutoff. Like these just zoned off kind of thing that we can indicate and see just literally lines that are running across like that. We can figure a lot of this stuff out later. Oh, we have to remember that it's gonna be a lot lighter than what's in the foreground and will reduce the detail in the background as well. Just a nice Misenus there in the background. One thing I find, we might have to change a Beta of adding a few bits and pieces. It's just some trees here on the right-hand side that there are a few here. But the reason why is because we just need to balance it up a bit. We've got all these trees here on the, on the left-hand side. So I think having a few hears gonna really help to join up this scene better and create a sense of, I guess, a sense of balance. The also helped to create shadows here to see that kind of Bush, this small bushes and things, this whole area in the full grams just going to be pretty light. It's in pieces. I think there's even sunflowers. Like a sunflower field was something here. Looking good. I'm going to put in started operating the figures warning perhaps around here and it's put a heading. And then another one sort of to the left. And we'll get to these figures in let me, not exactly in the full graphs that they walking and little bit further simplify them down like this. Kind of just walking into the scene or whatever, you just talking. Something like this with their legs cut off. They might be a bit of a shadow in here as well because we know what these these areas you're going to have, it's quite grass. You can have Pete, some pieces that are blending. You can also even see some bushes here as well. This is interesting. So we can get a bit of these drugs and stuff here as well, which is great for creating a sense of depth and increasing complexity. And what have you, you as well. Just creating a little bit of balance. You've been here, I might have a clump of shrubs or something like that. Just a few of these rounded shapes joined together. That a good bit more detail for these figures showed is shadowed area and that sort of walking into the scene. I'm hoping to create a sense of a movement towards the scene. They could be facing us as well. To say, actually it looks better if they're facing towards, It's interesting. I get the hands in like that facing towards us. Then we need to create this kind of little area underneath Nick. Well, the bottom of the shirt, something like that. Fantastic. I think we are ready to get started with the painting. 9. Country Scene Painting: First thing I'm gonna do is really use width the entire page. And I've got a mop brush just using boldface and won't be going to be able to do is get into a really nice, beautiful softness over this entire scene. Nother thing I'll do is I'll actually I'll go ahead with the house. I'll go over the head of the house as well and change the colors of the house a little bit so that it's not so white. But I'll keep some yellow in it perhaps. Won't come there. And kind of to mirror a bit of this warmth in the foregrounds. What have you. So let's go in this just a bit of water over the entire scene until the paper is fairly saturated. It's going to make it very easy for us to just drop in some base colors. All we're doing is, again, adding a base colors. We're not trying to get in any extra details or what have you. I'm going to go straight into it. Well, this sky, I'm actually going to use a bit of cerulean. Odell it down with some of these olive color on the page, which is just basically mixes of remaining paints lift on the palette. But I do want to make it a touch cooler, very light wash. It's a kind of a grayish blue sky wash. Almost undetectable tens of the blue, but little bit in there like that, a little bit of that cerulean off that into the sky like that. But mostly just keep it very, very lot. It's already much the lats as part of the scene. Touch of saturation, touch of blue in here. It will be nice. And test takes. I think that should do the trick. I'm going to move down now. Let's look at some other colors that we can put in here. Already. The areas of the mountains, I think, would be good if we add in some little bit of green here. This is some undersea green. And also a touch of look just a cooler color, maybe some ultramarine blue, little bit of ultramarine to just cool down the area in the back. Little bit because they are mountains all the way in the distance and you'll find that they softer and lighter. Use that little lawn that I had drawn that mark the edge of the mountains in knowing how this turns out, I'm not even have to go back into it once more at the end. But while the paper is still wet, we have a lot of options to constantly change around. Change things around as well. Okay, so coming down again a little bit more of this undersea green and I'm purposely keep this as lot is like Ken is well preserved, a feeling of light in this scene. You pick up the yellow like that. It's going to almost inevitably turned to green because of all the previous blues and stuff that I've added in here as well. Little bit more green, Let's get some more in here. A little bit of yellow ocher as well as quantum noise. You can sort of add into the greens. There. Let's have a look a bit more green. Again, this is just on the sea green little bit of undersea green, really just a dark green that I've diluted down. Coming across here with the houses and stuff like that as well. Just want to be a bit more careful here. I don't want to get chicken eat too much green in the houses, but I don't want to dock and off touch. In this section. You want even use a smaller brush to work your way. Work your way into the details. A little bit of green, just picking it up and mix a few different greens on the paper as well. You're going to get I'm a little more interests the case and look at that. I've just dropped in a little bit more blue in that green. So destructed in an economy looks like it's softer shadows or something running a crushed imitating a bit of that shadowy pattern. As you can see. You can also kind of dropping a bit for this, which you call it these little trees and stuff. You can just work your way through with it. Like that. It would be in the Witton width is just one of the most beautiful tools. At your disposal with watercolors. And notice how with the background as well. I'm also just chuck feathering it in trying to get in a little bit of that detail, wet into wet and getting it to try to sort of slightly merge as well. On with the rest of the scene in the midground. This point you might notice that the distant mountains, such I'm not dark enough. You want to create an extra bit of darkness at the back so you can just go ahead and pick up some color in DOM in it's all still wet this area of the paper. So you'll be able to do any of this stuff really. Just make sure you do it while the paper is wet. The paper, the paint will often run down the page, especially if you work on a slight slant, which is what I'm working on, the paint will run down the page. More greenish color here or something. The houses I'm not dropping in a bit of color in this is just some yellow ocher, warm color running through there. The houses like that. You don't even need to do that. I mean, you can just leave areas of it white as well. I know I'm gonna leave the roof. Lighter lighter color. Okay. Bit of yellow moving all the way down the page. More of this green in here that we can start again just feathering in for these trees and indications of trees. Bits and pieces as the paper starts to dry off a little bit as well, you will find that the lines become sharper and a little bit more defined when you're putting in these Witton, which trees are brushstrokes will start to come out a bit more rather than melting directly into the page. So I made sure that I have a combination of brushstrokes that are in there. So that we have a good combination variation and just makes it look a bit more interesting. This is a bit of yellow. I'm putting in here yellow mixed with yellow bokeh because I think you're using just yellow by itself is a bit too much. I'm just going to draw yeah, I just wanted to dial it down with a touch of yellow ocher. As you can see here, it's a pretty vibrant, almost too vibrant. I'm just getting some more of this yellow ocher. I'm trying to spread this around atom over here as well. Going down in yellow ocher and that left-hand side like this. The water over to that left side is like this. You can put in some more water and stuff. Bit more green intestine, just a few little pieces, goodwill lines and stuff running through. You can already see this areas starting to dry off a little bit. What I do like is just this area of the foreground and trying to get in some splotchy little bits of details and stuff in here before it dries. You can see I'm just feathering a bit more yellow in here. Not only that, I'll go in maybe with a bit of water afterwards, a little bit of white gouache too, so that I can maybe drop in a bit of color, touch of color through there. You've got to do this slow. You got to work with it. Just let it almost dry at its own pace. While that's happening, you just again, feathering perhaps in some darker trees and darker paints in there as well. So that you've got a good combination of colors and shapes, different, different values running through this. It just spreads quite quickly when you put that coloring, but as the paper dries, it becomes little easier to stop putting in some shapes without it dissipating everywhere. There's also some little shrubs here, like we were putting in before. It's a little bit of that, perhaps some here in the foreground as well. Here just on the, near the road. Putting a few in the other road, like this. Sudden largest suit a tree or something. I'm just getting an extra darkness around some of these bits here so that it helps to draw out the foreground a bit more. Just creates a bit of an edge. Not only that, there are these little shrubs that form boundaries on areas to you can just sort of move them around, drawing them, join them up to make it sort of create a slot boundary. Ruffled this one up a bit. It's a bit too much in structuring there with that shape. Keeping the background again, we can start. We can just continually defining the soft areas of trees in the background with little, little brush, I'm using THE little mop brush that I can just drop in the area. These ones I'm hoping will stay put. Will hopefully stay put a lot more than the other ones that I've tried to put in any way. It's all cumulative thing. And you'll find that in time. The shapes start to take hold. And you start seeing them as trees and bits and pieces. You just have to have faith that it will work out. That especially when you look, look into the scene from a distance, you will often find that more closely resembles what you want it to resemble. But when you have the reference picture right in front of you, it can be tricky because you're always just comparing it to the reference. I'm just adding in another, a little wash of blue or something like that here into the mountains because I want to darken the moth, touch just a little bit so that they can come out of the sky. Beta like that little bit there. Again, it's just something you can do with the paper has not completely dried yet. Something like that. Look this area in the foreground. Putting a bit of yellow and stuff. A bit more. Pounds, a yellow and a bit of normal yellow here. Yeah. Good. We've got a bit detail. Can get a touch of like I tilt the paper and just pick up a touch of this brownish paint. See if I can just drop in a little bit there and let it spread a lot of water. Just let it sort of spread downwards and see what happens. And then create some inconsistency, perhaps. Moving through the area, some more water, perhaps around, shift the paper around. That's one of the most interesting things that you can do with watercolors. You can just get so many interesting Wedding way to fix through here. Good. I'm going to give this a little dry officer in, but I'll see if I can just maybe pick up a bit of gouache and dropping a tiny bit of wash into the section, see what it looks like. Just a touch of white or something maybe mixed in with some yellow tiny bit of white and yellow to see if we can get in some Paik, little formations of yellow and things. This little bit of whitewash and the yellow just mixed in there. Sometimes it can indicate just little flowers and stuff. And especially while the paper is wet, um, it's always a great time to sort of do this. It's not so obvious here because the background, the background area of this section is quite light. But you can see there are some variations in here and mix a bit over on this side, for example in here, a bit more yellow. Drop that in here and just continue on. Bit more yellow there on the left-hand side. And then the opaqueness of the yellow is interesting. I mean, I don't want to overdo it. But when you combine it with the watercolors, you get a Conor interesting effect. Gives it a, basically gives it more volume. Already. Give this a quick dry and then we'll get back to it. All dried off. Now, I am going to start working on the trees a bit more. I'm really quite happy with how the trees look. Just to also the houses, maybe some additional details, lovely stuff I'm gonna be using a small round brush to work in. Um, I've got a little filbert brushes WO, which is mainly used for blending. And I think this will be quite helpful to create some soft edges are really want these edges to be really nice and soft. Some picking up bit of this green, It's basically a bit of undersea green and I'll put in a bit of ultramarine and let's just drop the beat in like this. One of the things I really want to preserve as well is the the previous wash. You have to be so careful not to eliminate that. Because it's the softness actually that gives this painting. It's sort of atmospheric kind of fields. So it's important to leave some of that stuffing. Much as you can really see. Even on this side, there's some I think there was a tree we put in here as well. So I can just kind of drawing touch of detail like that. Bring it down. Here's another tree here. Try to just be fun. I'm going to put in a tree, try to place it in with as much softness and spontaneity in there as well. I don't want it to be too obvious what I'm doing because I want that previous layer to really shine through if possible. Another trio, some kind of tree shape here. Some soft edges blended in with the sharp edges. And here you go. You've got like a little bit brush which you can do this sort of thing as well. Just stopped and some of these edges, if you feel like the parabola touch of paint and it's always, always works. This. The goal here is just really increased contrast around the houses, especially this area near the rooftops. I'm trying to just pick up extra, extra green and it's going to be Qufu where the edge of the houses like this, the rooftop, just cutting around it a little. Take your time to do this. Now you've got another tree here or something that just blending onto each other. You can see all the beautiful blue overlapping areas. Some parts again, it could be all four are too sharp. You can just use the little filbert brush where they just another round brush something you just pick up a bit of that paint. Which will help. Can even just use the whole filbert brush to painting. Being this paint, these trees are just certainly needs to be a touch darker because that's really going to help bring out the houses in front. You. Round brush helps detail. Why is it so much easier to paint using the round brush than the Fitbit? When you cutting around bits and pieces, especially say, go ahead and do that, just dropping a bit of detail here, a bit of darkness behind houses like that. Yeah. Let's have a look. A little shadow underneath the house here as well. There might be a shadow like that and running towards the left-hand side. Same with this one. Good. I think I think what I'll do is just dock and down that now slightly in the shadow areas again, I'm going to leave the rooftop. Didn't really leave the rooftop with more light on it. At the bottom of the house like this. Getting with the little darkness. Soften that off a touch like that. We can do it for this one as well. On the left, this is just a bit darker grayish paint that I've found on the palette. Just picking up and using it. It really pays to get in basically to getting a larger section all in one go if you can. Everything. I'll just try to join up this shadow. I'll try to join it up with the shadow on the back here, which will then join up to the trees in here, for example. Having these kind of suddenly having these sort of pattern is very important. Creating a sense of connectedness in your painting. Depends how much time you've got as well. I do like to really, really take my time with this type of stuff if I have if I've got the hours available, of course, but men it blend into each other, sort of them slowly and don't rush. It kind of has to go something like that. A couple of those houses, he announced on the left, I'm a little bit more darkness underneath the house maybe or something at the back. In this section here. Some of it's just gonna be a little less defined. At least two rooftops like this. Don't want it to be too defined anyway. A bit more blue, that's dropping a bit of blue and green here for these little shrubs in the foreground and not foreground, but they kind of almost going into the foreground, I'd say getting quite close and having quite furry sort of edges as well. They carry along the the path, the road if you can see. So you just me, I'm just trying to get an indication of them. You can even see some of these little trees of you in the distance that form the edge of this little hill. Rolling killer from the distance. This is good as well. You can also do this sort of stuff. We, it's kind of little bits of dry brush to help indicate the the sort of undulation of the land in that. But even in the background here you might see like these little, very, very lightly, but these little bits and pieces of the crops, as you can tell, they sometimes have these sort of zoned off in areas and stuff just indicate what might or might not be there. But you'll find that little bits of structure like that. They really start to add up and make it look like this detail in here and more than actually meets the eye within these tiny little trees. And I'm using so little paint here on this. I'm using mainly water for this section up right in the back because everything out in the back is just has to be softer. Lotsa, if we're going to maintain that sense of sense of perspective here. Not too sharp in some areas as well, but of course you can mix it up here and there is also some bits here, just dropping a bit of paint in this section like that. Then what else do we have? We've got little here as well. Even in the hills out in the back, this variation in those hills. But I'm not going to give that a whole lot of thought. Let's keep working on this one. Maybe a touch of darkness around that lifts on there. Just to draw out the edge of the house. The bond, whatever you these are just little trees or something I thought I might put in a bit here. The boundaries of the house, this little section here and almost joins onto the roar. There's a road that just runs through like this. And I'll indicate that slightly you can see kind of go around off into the distance somewhere. This will also be good with a bit of gouache later we can just play around with it. Good, good, good. I think some slow flashes of bits and pieces here, little dry marks here might be nice and some of it will go into the. Go into that previous wash. But I want to just add in a little bit here to create some texture and help to bring out some of these hopes, help to bring out the foreground of it is at the moment, there's not much in just a little glitch here. And this is a fan brush with a little bit of brown paint on it. Just going through and doing my thing. In some areas like this. And even little shrubs that you can try to indicate like that. Here in the foreground. I loved this fan brush because it just helps to speed up this process at time so much quicker than if you were to get a brush and do this all through 100 brushstrokes. This sort of gives you a bit of a shortcut. Let me have a shortcut way. Let's have a look over here That's looking a little bit more of a shadow for some of these trees in there as well. It took you this little dry. And I'm four, I do. I'm like getting some colorful this figure. I'm going to mix some cerulean blue with white gouache and just dropping a bit for these persons ****. Just a bit of a bluish color should be good like that. The other person we can probably I'm thinking I might just use a bit of red or something. You read well, some color. I'll give you a real quick dry finishing touches. I'm going to go in with neutral tint, just really dark bits of color. I'm gonna try to draw out some extra detail around the houses. Perhaps putting windows or stuff. Extra details underneath the roof like extra darkness like this. We can do it for that one as well. This digits dry off, create some extra bits of depth. I suppose that would be good. Like what's lacking here at the moment, it's just the really dark dark values. By going a little stronger. Just be able to complete this painting with a little bit more strength and contrast. Especially police houses. That's pretty intuitive. Legs like this. So the figure here, just walking through the shadow or something like that towards the left-hand side. Little posts or something like that. Darkness on the left side of the figures. Little bits off in the distance like this. Sky as well. That would be nice. Them out a bit more. We will get a scratching out for these just touch of white gosh, Awesome highlights on the top of their heads of these figures, maybe the shoulder, right-hand side of the shoulders. I think that just quickly put someone in that house and probably not necessary, but just little touches. A Guassian here can help to break up these little. We finished. 10. Distant Country Scene: Alrighty, So for this same here we have a simple looking landscape scene. We've got some mountains in the background. We've got a nice little area of crops and trees just sort of receding off into the distance. So what I want to do first is again, sort of look at where the sky meets the ground. And then we're going to discount those mountains. Some sort of put it at the base of the mountains. Awesome. I'd say roughly here. Drawing of the largest running across like that. And it's one of the first things I always do, just putting in that horizon line. Once you've got that in, I think the probably easiest thing to do here is just a shape, some of these mountains. And I want to actually get these in and a sharp or maybe slightly sharp, a shape here in the background. But we'll see how we go because I might actually makes it softer as well depending on how I feel. But there we go. I've got a bit of those mountains. There in the distance. We've got another row of mountains actually like a little small air the back, you can see it just going up across the back there like that. But really apart from that, the rest of it is just a little trees here and there. On the new separations in j, you can see the kind of undulations of the land. Does it kind of goes across up here? The interesting thing is that these trees, they mock the kind of boundaries. Sort of make it look like they have sort of coordinates as opposed areas of these trees and what have you. So it's always good to just put it in a little bit of sketching and stuff like that. It doesn't take much work at all, just a little bit of sketching like this. And I can put in some small in trees here and the distance here got some little ones off into the distance back there. And here as well. Another thing I like to do is put in tiny little rectangle, little things in here that they just look basically like the tops of houses or little sheds or things like that there in the distance. You can actually see some of them off in the distance like here, for example. One of the biggest things to remember is just to make sure that everything gets smaller and slightly more softer in detail as you move out into the back. So the trees will form the boundaries of some of these little areas with his grass and crops and things like that. Here in the background you can see there I just trees, right? And the distance that separate out some of the lots of green areas of the mountains, crops and things like that there. So what we've got, they're a little bit here and there, just little tree-like shapes. Again, I don't think that's I think it should be a KML look here. There's a little lake here, but I'm a little watering hole right at the base. Apart from that, I mean, there's just little bits of drugs and stuff here. Another thing I thought I might put in his, perhaps a tree's running through the scene but go with that later and see after that wash, this first wash. First thing I'm gonna do is really just start at the top of the page. I'm gonna be picking up some cerulean blue. I'm going to keep it very simple just just to rule in, roughly going all the way through the top like that. Very light mix. Just shifting that down the page to where the mountains are. Going to bring this all the way down because I want to make those mountains in the back maybe slightly. Baba, I can bring this down all the way into those mountains like this. What we can do from here is look at I'm just feathering in a bit of green sign to get into that green, It's going to be quite simple. Just a little touch of I'm gonna be using some yellow mixed in with undersea green, which allows me to just get in a little more vibrancy, a little bit more of this lighter colored green. I've got in here, just a bit here like that. You can see some of it even goes up into the mountain slightly so you can shift some of that through there as well like that. But it's not a huge deal because we won't go over it again later. This is just it. I'm just bringing this little watch of this greenish kind of color down the page. Good morning. They're often it down like this and if you get a little bit too white showing through the paper, just let it do its thing as well. It's not pulled into color. Everything in little bits like that can be quite nice, actually. Got to this color. You can also add in a little bit more green in some areas like here, it might be a little bit more of a greenish tinge in some areas like here. Really just putting in some small, tiny little highlights, I suppose, not highlights but just getting dark areas wet into wet while we can. Because what I wanted to do up to which is just go straight in and getting those, those trees. But as you can see, really quick wash already here. The base of one thing I forgot to do was to get in a little bit of bluish color for this watering hole. And I don't know if this weaving last now, but we should be able to get in a tiny bit, THE bit of cerulean. I'll just drop that in here, kind of reflecting the color of the sky there at the base. That's looking pretty, pretty good for now. I think what I'll do is give it a quick dry off and then we will get on with the rest of the details. Okay, Fantastic. So that's all draw it off. Now, what we will do is work on the background mountains. I'm going to pick up a little bit of a look here. Probably got some ultramarine that I can use. Just a little bit of ultramarine. And I'll say the consistency is very, still, very light. Put a bit of turquoise and they're a bit more turquoise. It's fairly light. That's mostly mostly water, because I don't want these mountains in the back to be too sharp, too dark. I mean, just want them to be kind of pushed back into the distance. Just a little bit like that. Get the mean as the reference. Looks just like that in just a bit of blue in there. I do have a bit of turquoise turquoise color in there as well. That down. Just notice how it's creating a sharp edge in the sky as well. Because we've dried it off. We've waited for that area to dry first and then gone straight into it. That will just create a sharp edge. There's mountains normally I actually do them wet into wet, but I wanted to do something different. This time. There's something like that. It doesn't have to be it doesn't take too much effort at all, just a little bit of color out there in the backup bluish color. Now comes the fun bit. I pick up pace smaller round brush. And this is where we start putting in the trees. And the trees are really the bit. I guess they're part of the scene that will bring everything together, give it a sense of what it is really a little bit of green at the back like this. Now, I always like to make the areas at the back a lot lighter and then the front just so that it looks like the trees are receiving. So for example, if I'm doing a tree here down the front and place them in before these ones here are very, very you can see the very dark compared to the ones at the back. And getting a few shapes like these, move them around a little bit. The thing you want to do is just try not to over a shape and too much just look at how you can put that tree in with the minimum amount of brushstrokes. If you do that, go far because it just looks so much better with fewer restaurants in there. There's a tree here, for example, and I can just put in the trunk of that tree like that little bit of a little bit of brown or even a black color at the base. Does the trick as well. Get a bit more than green. Let's get some more off of here. Here. Just like a kind of forming an edge are suppose to where this area is right at the base. Interesting thing is, once you form that boundary here on the ground, suddenly these other areas start to come out a bit more. To put in a little shadow underneath the base of some of these trees as well, something like that. I have to do it for all of them. But you will find, especially with this reference, because of the angle of the shot, you finding that there's not so much. It's not completely. But I view you're going to be able to see the tree slightly sideways. Few more here we can start putting in a few more here. Forming again is this little boundary. Little bit here. Which slides and as I go into the, into the back of a bit to make it appear as if these shapes, it just started to recede back. Touch like that. You see as well with some of these little separations running through the crops like this. This is interesting because it creates this sense of this feeling of perspective as opposed. So you didn't have to do it for all of it, but just something like that. And I'm rounding some of these areas of the water as well. Why not just put in a little bit here and there. It makes it look a bit more 3D. Just go in and let's just keep on adding a few more of these ones in the back. Yeah. Little bit of event tree here. Yeah. Just almost stumbling my brush around in the injuries. But making these a lot smaller as well as we go into the distance. There is a kind of green area over here, so I can just indicate that as well. Please. Bit of dry brush running through there. I think something like that. Testing the trees mainly bring out the sense of separation in areas of this land. As long as you as long as you manage to do what I'm describing, he just making them into the background and keep the automate and keep the light as well. You can see that first wash all these beautiful lots of green in here. It's gonna make such a difference. This is like a little mountain or something in the front. Yeah, a little bit here. Important. You blow off some of this detail and stuff in the background, especially if you start noticing it, overpowering what your rest of your scene. See if you sort of running downwards like this. Just takes one brushstroke really even just a little nudge like that to indicate something they're small, the trees off into the distance. Just think to yourself, what is the minimum amount of work you need to do with my brush? To put in that tree. Of course, here in the foreground we've got another tree-like shape. There are few more here near the water. Detail for the trunks of the trees will maybe a bit of a shadow beneath some of them. Just a bit of neutral tint that I'm using here. And create some of these trunks, little tree trunks to ground them a little shadow underneath the lot source. I'm imagining more coming from the top of this scene. Look what have we got here in the distance, a few bits and pieces. We can start also looking at some of these little marks that running into the distance with some of these areas like that. See these little separations of land. Use, that brush, pick up a bit of little bit of paint, draw them in. Land doesn't look completely flat. One kinda just runs directly across actually all the way over there. Good bit earlier, but I'll, I'll put in some birds. Quick little indications of some birds flying around the sky up there. Darker. Space them out a bit more. Help as well. It's very light scene apart from some of these trees that I've got in here. Lot to just add in a bit more color, more darkness to the base of the trees. This will create a sense of feeling of light. Top on the top section of the trees. Like I said before, I wanted to put in a bit of detail for the tree trunks. Pick up a bit of brown mixed with this darker color. And just getting a indication of some trees running through the foreground like this. Sometimes it just really brings it together and makes it really appear like we've got a scene with more depth, having more of these detailing going on in the foreground. And it pushes everything pushes everything back. One on this side as well. I didn't maybe one here coming in like this, something like that. Always hold the end of the brush to do this so that you can get in some more kind of sporadic brushstrokes. To put together. That is a k. I might use my little fan brush if I've got it. Two feathering, few little marks at the base. He had just stopped, got some little bit of white gouache mixed in with some yellow. And we can even just use yellow. Anyhow, just a bit of yellow in here. And I didn't at the base with some of the gouache, usually a course to sort of dial it down a little bit, give it a more milky kind of look at this and this is just giving me an indication of some of these. Um, she call it shrubs and things here in the foreground. Course, I do want to just add in a few dark box as well like this. Because what it does is that it again, it just brings brings this area forward. So we were kind of looking through a scene. Little bit tunnel, almost just a few little bits like this. And then the rest of it just grabbed the yellow again, feathered out through yellow and white quash. Maintaining the kind of grass. Grassy area here. Leave opaque thickness. The foreground that contrast a little bit. What we got in the background. It's a pretty simple scene. You can see how, how easy it is to pull something like this together. 11. Farm Scene: Alrighty, So we have here a beautiful farming seen ever in Australia. I'm not sure exactly where he sees, but it's a beautiful sort of Pharmacy and we've got sheep here, we've got some sheds at in the back. I think this is a Must be a cattle station or something like that. We've got mountains in the background. Some of this grass maybe liberated this road that's coming in to like this grass pattern though in front. We've also got these lovely fluffy clouds running through in the background. It's everything, everything that we need really a nice landscape scene. Not sure if I want to put in any figures and model might do later, but let's get in the main details first. So firstly, the horizon line, let's have a look at where the sky meets the ground. And I'm also going to look at just really base of the mountains and easily that's probably the most important part. Just put the horizon line in. Let's say it's, it's not, it's not a third, but perhaps just above a third of the way through the page like here. So I'll just get in a little line like that, running through this scene. Something like that. I always like to start with the most simple bits and pieces first. So that might be just getting in a slice of that road there like that. And you can see some of the the grass that comes in like this, which is here as well. You can see just little indications that just comes through the the yellow sort of bits of grass there. There's even little posts here, but let's start working a bit on save these buildings. And I'm gonna go and getting this 1 first. It's just a rectangular shape, something like that. Just a rectangular shape coming down there. Touch the ground and there's the water tank. Water tank or something like that just in front, again, almost like a rectangular shape. Then we're going to have a look at this other building to the right-hand side of the bigger one. It kind of goes up a little bit further up like that there. And then I'm just going to go on this little rusty bits and pieces underneath it as well for this on the roof. And then you can see these little bits of red sort of rusty areas which will be interesting for later. It's getting this the edge of that little rooftop and this is all going to be white. I'm going to leave the paper, the white of the paper showing through intending to. Anyhow, there we go. We've got a bit of that. And the building that just comes down to the ground, bits and pieces here. Well, there's a little I don't know what this is. It's kind of like a building that joins in the center. Sometimes these little moments, you can actually zoom into the reference and double-check exactly what we have going on in here. It's really just a connect to shape and there's a water tank and can just putting in a kind of a rectangular shape water tank. I mean, it's good cylindrical of course. So we'll just round the edges off. Touch. Mainly we just needed to shadow the right-hand side of it. There's a shadowed also coming towards the right here you see the shadow patterns so much from the top. Coming from the top left hand corner of the same. Bring that down like this. Okay. We've got some little darker windows in here. That is a door here as well that we can just indicate that little door, little windows, just just a little bit of darkness from the pencil. Not much at all. But lipid stuff will be able to actually get in with the watercolors later. A little touch of that as chimney or something coming out the top of that building as well. Apart from that, it's not really much else to put in here. There is a tree running all across the back there. I'm quite fond of actually just draw out the edge of this rooftop of bits that it doesn't get mixed up. Of course, we've got these mountains in the background, so let's have a little fiddle around with these. Okay? I think with mountains you always want to make sure that they then you have some incongruence he's in place as it goes up and down. Use what we've got in the reference as a general guide. But don't feel like you have to get it in exactly as it as it is. There's a bit of grass and let's actually look at the pit of the heel that just runs down across the backlight, that actually there are a few more details here. There's like a little looks like a cabin or something there and a few other bits and pieces which don't quite matter. They often the distance like that. Some bits of fencing and stuff like that as well. Of course, we've got a little bit of fencing running across here as well in front of that building, but Interestingly, some of that fencing starts running over into the foregrounds over here, which we can use to create a sense of depth in the scene. So I always try to do this where, wherever possible. We can have an increasing size of shapes as we move towards the foreground, decreasing as we move towards the back. Now, there are little shape here actually, and I'm not trying to get in all the details, but I will just perhaps indicate few of them here. Just a few of them. Just shapes with their bodies. And in here that they're not going to be a whole lot of detail because it's very hard to do this. Judging by how small they are especially. But we can get in a little bit of an indication of these sheep through this section. But I don't think I'm going to really make too much of an emphasis on these. Great. I think that's quite sufficient for the drawing. Stop painting. So I'm going to go into the sky first. And probably the first thing I'm going to do actually is looking at getting in some sharper looking clouds. I'll go in and firstly put in some cerulean blue. And it's very, very blue at the top. So I can go rounding and using this, I can create some shop and looking cloud shapes. So we'll go in and try to get in this one here. The top-left is larger cloud shape that runs across just like that. Just needed to the mountains. Cutting around that one going through here. There's another cloud shaped like here. Just a bit, a tiny bit of cutting around. The blue is very, very vibrant and quiet, dark as well. It's cerulean. At the end of the day. You'll notice as we get down towards the horizon line, the clouds becomes smaller as well. So you don't need to really indicate them with too much detail. It's more, the larger ones here at the top that we have to pay a little more attention to. The sharper shapes of the clouds and some areas are just going to keep things interesting. Celsius pick off a few of those to that sky. And now just like to pick up a bit of grayish color here on the pellet and a little bit of grayish color. And we can drop some of that in perhaps here. And that's for a bit of the cloud. You don't want to have a smaller flat brush will be something like this. Smallest that brush. And just soften that edge of that cloud and touch. Bring some of that grayish color through. Great bit of it through here, just a bit of grayish. Joining it on a bit. Often you'll find that clouds will have a bit of grayish and dark a color near the bottom of them. Whereas the tops of the class will just be a bit more. Lots. There will be there and there'll be a day. I'd love to get the soul to sort of blend together a little bit as well. If I can. Great, and I'll just start putting a bit more blue here down the bottom as well just to just to even it often get a bit of coolness at the base. You can even just pick up a bit of grayish paint as well. Trump they didn't in some areas, maybe some of the clouds and the base like this dot, but that's okay. Fantastic. We've got a bit of this softness up the top. I also have a filbert brush which can be really useful to blend the edges of the clouds with the sky. And we needed some of the areas I can find it, of course. Just pick up a bit of water. Just soften off this edge here. It's soften that bit off like that. We might put in a bit more blue here, for instance, something like that. So let's have a look here. Just soften this edge up a bit to here, and then soften and they spin up here as well. That's nice. Softness and just creating that sense of fluffiness in some areas and in other areas, some sharper edges on the Clouds. Okay, So for example, I might just soft enough this edge like that to create a bit more fluffiness in there like that. Then leave some sharp edges and some of the areas. Some of the clouds, I may just create a bit more darkness. And then let's have a look. We can sharpen off with a soft enough, sorry, some of these extra, extra areas here. Well, you say area too. Why not just dropping a bit of a bit of this color in here as well. Just a little bit to the base of some of these clouds. While we can not just remember this is all going to dry off. Significantly lighter as well. Good. Equal leave that for the clouds. That looks pretty cool right? So far. So I'm gonna go down and work on these mountains. Now, one thing that I noticed straightaway that the mountains are very dark, probably the dock is part of the whole scene. I'm gonna be using publish, gonna use a bit of green mixed with neutral tint. And if I've got a bit of, a little bit of ultramarine in there as well. That might be nice. Cool it down. So drop that in there. Let's have a look. It's pretty dark. Um, I think a little bit more green in here, it would be okay. Just drop that in there. Another thing that I've done is that you notice that in the reference it's actually quite a sharp edge where the mountains and the sky, i'm, I'm actually doing the opposite and putting in trying to make it more of a softer sort of age. We'll see how that goes. But sometimes you go really quickly like this and you can get some nice little white highlights are running through the mountains like that. If that happens, just leave it. Keep a bit of that. Looks really amazing if you get it. If you do it right and just leave it in there. Is a bit more, get more of this darkness. Maybe be more green, green in here. You've got to be more careful here because you are cutting around the rooftops. You're just using the tip of that brush and using that tip of that brush. And really just to cut around and you're doing it really the most efficient ways you can find, the more you fiddle around and try to change things up, the more you get yourself into a hole. I just try to do it all in one go. Even these. On the left-hand side, you will notice that there is a large tree here. I can just blend that in and join that tree on. Just as easily like this. All one shape. Try to find a way to create a large shape. There we go. I think these math and is probably could do with a little bit more green in them. Let me areas and we could just lift even just lift out some paint in some of the areas to create some inconsistencies here or here, but keep in mind it will dry off significantly. Lots are as well come down. Let's just get in this side of the side of the building, the mountain, sorry, over here. Just bring it down and it's kind of green and you can see it's kind of greenish and I'll cut around some of these little sheds and things here. I'm not sure what they are, but I'll leave in a little bit of white. Amazingly just does a fantastic job. So I'm going to go in with a lighter green now, just as we go further down. And I can mix in a bit of yellow at the same time to give it a touch more vibrancy. In areas. I'm just a little bit of that light green. As I move down the page, of course, we've got some of these legal sheep and things like that. So I'm going to just leave it a little bit of white here in the paper and assess, reassess that afterwards again, I can most likely go through afterwards and just use gouache in those areas. I think that's what I'll do anyhow, but this is just precaution and suppose the screen down, I'm having enough, but a yellow in there as well would be nice. I think he'd be in here, but that's okay. I'm not just spread that a bit in the mountains as well because I felt that it just needed a bit of something back there. Let's bring this green down here. One of the things you're going to notice as well is that it turns quite kind of yellowy down the, down the front. So I will naturally pick up a bit of yellow ocher. Well, this is just a bit of Hansa yellow actually, and just feather in a bit of this side of the brush. Don't be afraid leaving the white of the paper. Again, it's a great technique to create just another sense of contrast and interest in there. So here we go, a bit more of this stuff here. Bit more of this yellow really brought the vibrancy is a lot more than what I can see in the reference photo, but it doesn't matter. We can oppose, change things around if we feel we want to pay. But I can just go to this around a little bit in here. Dropping a bit of darkness as well in here. Yeah. In here as well. A bit of yellow ocher in here. On the road, you see it as kind of like a grayish yellowish color. So I can drop in a little bit of this neutral tint in there as well. Just a little bit of that. Believing some of the white of the paper. So important. I'm going to try to get in some literal shadows of the buildings while I am able to. Women's and we'll see if we can just pick up a bit of neutral tint. Trump that straight in underneath the buildings here it's a little, there's definitely some shadow underneath the building. Daca, maybe a little bit of brown as well, mixed into that. Like a warmer side of this voting. At the top of that building. I really just wanted to leave in. I'm going to leave that in significantly lotta as in just make it white. White of the paper. Have a look around that left-hand side. I'm not just dropping in a bit more color in here, a bit of light, certainly a bit of Doc missing here. Underneath the roof tops, you will get a touch of darkness as well. You can see each little line there for the sharpness there. But for the rest of it actually, that one, for example, I'm going to go off the weeds with, once it's dried. Let's just dock and this one down a touch. Just cut around those little water tanks as well. Have that. This is spreading a little bit into the ground, area like that. Okay, good. You can type the opportunity also in this area to shop and up the areas of the roof. If you want to create a little bit more contrast around some of the areas of the roof. I'd be careful about doing too much of that, but just a little. Here you can see there's actually some darker bits in the mountains off in the distance. You can of course, do some of these stuff as well. Reshaped some of these mountains at touch. Just creates a bit more interesting. I have an interesting and look for these mountains. Sharp edges and some parts of them as well. One thing I've noticed is that this tree here needs to be a lot darker. Just can drop in a bit more, paint, a bit more neutral tint, a little bit of brown, perhaps, just to create extra darkness for this tree here so that it comes forwards. Another thing is I also want to put in a few little branches like that. Then another not really there, but just something different to make it look more interesting. You will find there is also a little trees here. You can see them all the way in the back. Distances can't just create extra contrast interest in the background. Some of these areas, this area, the rooftop as well. If you put a bit more darkness there, it's going to make it pop out a bit more. We can do it in some other areas like here. Oops, I've gone into the roof. They're going to be so careful with this though. Then that up, that extra contrast here on this roof. That that's looking pretty good. I'll just go in and look at perhaps getting in some of these little shrubs and things here. So I just put. Round brush. And I'm picking up a very thick mixture of brown, a bit of green mixed in there as well, brown and green. And I can do this sort of thing and getting some of these little, as you can see, these little shrubs or wherever here in the foreground. Some of them will be sharper than others. See somebody just going to recede and move backwards like that. Another thing is these like little poles as well. You see some of them that just closer mix a bit of tiny bit of gouache in there just to touch a little bit of gouache, getting a grade down, sort of look. This I think we'll need some more work later. But for the time being, I think this will be a k. Put it in a few of these little bits in pieces. It's great because we can get these little indications of the daka, daka spots in here. I also like to use the fan brush and pick up a bit of gouache mixed in with yellow and white quash with yellow and then getting some little marks like this to indicate the grass. Because we've got all these dark areas as well. Running through. It actually helps to create extra contrast. You can see just extra grass he taught and look layering over top of the other bits and pieces. That it's on the ground as well. Maybe going up into here as well. I love this wet-in-wet technique and using a little bit of gouache in there as well. The opaque quality of the gall mixed in with the watercolors can be a fantastic asset. It just creates a more volume. And as long as you don't use it all over the place, you can really create something quite magical bit more here you just feathering it in and focused on getting an, a little bit of these little strands of grass coming in in different directions and try not to obliterate all the previous layers. Create this effect with all the layers, show through. They work harmoniously together. What we can do off the back, probably not much. A touch over there as well. Stick while I'm here, I might as well put it in a little bit for the thing I can do it with this one, but just a little bit of lots of gouache for the sheep. Just a little bit of something like that. This lighter yellow color. So just a little indication. Maybe the heads grazing on grass, some of the little legs as well. We need to add in a bit more darkness in here later to, of course, can have one that's closer. That could be another shape here. Here that could be shaped as sort of facing us into the distance. It's hard to say, but just little, little ones like that shape off into the distance. It's amazing how little you need to really add in for it to start looking like something. Some sheep just putting the legs in once we got the once we have a darker bit of paint running through, let's go ahead and just put in some more dark shrubs and stuff here near the boundary of the fence just to separate it out, touch, run down what's like that. More darkness here. Light kind of boundary. I suppose I just want some of that lots in here too much to Doc. Good, good, good. In terms of the darkness for these sheep. I mean, there's not really a whole lot to use. It's just a bit of a dark color, neutral tint and I might start off with this one. Yeah. And just put in a couple of legs or something like that. Sees these ones in the background. And I really tricky you got to be could be facing forward like that. Underneath there and then a couple of legs. This bit of darkness underneath. These are just really, really just suggested only. Don't have much control at this point because it's all wet into wet, can me but just indications, These could be a shape sort of facing forwards and the head little shadow of the head like that. And then they could be in shadow of the head and legs underneath like this. Shadow underneath there. Could be a shape here just getting closer to the fence, the legs like that. I'm trying to get it to blend nicely so that we've got the blend with all these shapes in here, indicating the sheep. There we go this way we want here we can just say meet near to the fence around looking forward. So this could be another one bit of a shadow going towards the right. Use your imagination. It's quite incredible how little you need to drop hints as to indicate that they could be an animal, a little sheep or something like that. Um, you can already see this something going on in here. There's something going on in here. Might be able to put in a bit more detail giraffe, a little bit more in the later, but really being able to indicate something there, the top of this roof here as well, just dock and underneath like that. Make sure layer of darkness and the windows, these little windows, Let's just drop in a bit of little darkness in here as well. Getting those windows. The shadow of these water tanks. Really want to put in any kind of shadows that I think would bring it out more. Just wanted to try to emphasize base of the building as well. You might get these, unlike these kind of lines running down the sides of the building like this to indicate like kind of made of wooden. Thanks for something like that. And you can see them running across some parts of the building. Let's have a look. I'm putting little bit of reddish color. Mix a bit of orange with little bit of orange with cerulean blue. I can make this kind of rusty looking color. Orange with cerulean blue to create a rusty looking dry off the brush a little bit as well. That it just looks like get the weathering of the building coming through as well. Do it like that. Good. Good, good. I will now give it a really quick dry and we'll put in the finishing touches. So we, we've pretty much finished off most of the painting really at this moment. And what I wanted to do is just bring out some final finishing touches that will hopefully bring together the scene and make it a little bit more put together. So what I want to do, firstly is these little kind of fence posts or whatever here in the foreground. Want to just getting a little bit of extra darkness for some of them, not all of them, but just some of them. Perhaps fence posts like that. Remember that the light sources coming from that left-hand side as well. Just to create more of a feeling of this sharpness and detail in the foreground. We've lost some of the fence posts off in the back as well. So what I've just joined up, a few of them create a bit of this effect. This joining these fence, fence posts and stuff. Pretty, pretty basic though not too much too much in there. And also, I want to remember just to try to blend a little bit of this in the foreground as well so that it's not all, not all just sharpness and it'll be at more of this kind of yellowish squash and water, very light mix of it. I'm going over this section again and making it look like the grass is growing through the air, some areas of the fence like this. Notice how it just really helps to join it up. If you need a bit of Doc and how the renewal so dropping a bit because the grass isn't that completely that color as well. So little bit of this color will help running through like that. I've got a small round brush and I'm going to pick up some white gouache and just shopping up few quantile details, namely the buildings in the back. Want to sharpen them up, put a touch. Perhaps. Look at what we can do with some of these sheep. Maybe some highlights of the post polls and things like that. So let's give it a try picking up some pretty if you are white quash, I'm sharpening up this building just to make it little more. As you can see, just a little more together near the edges like that. I'll do this one as well. And one of the things is also this little chimney there which I'd lost initially. Bring that back out again. Let's have a look. What else can we do here also, there's these little, little posts that you can see that just comes through the darkness. These little white posts, some of them almost comes through to the front of the building there. Little white poster thought would be nice. Off in the background. Layering over the top of these dark areas. Just looking like it's just a little fencing and stuff over there. Let's have a look. What else could we do? Chest bit of detailing. Topic extends out K. That up a bit there. We can put in a bit of gouache with some of these fans as well. Maybe on the left-hand side with the top highlight of that fence like this as well, just a little bit in there. Repeats the background. Sheep bring out maybe some of the hits of them. It's the shape. A little bit more like this. Bring them move forward. Quite abstract, but you can sort of see them in there. And perhaps a few little birds flying around the sky just become a bit of darker color. Oops, that's too big, but we'll deal with that. Be like a little flock of them somewhere. They're just going to find little box where we can bring out a few birds. In college, you, if you go too big of an area where there's like a little bit of white in the sky touch of white in here. Here. You can use that to bring out a few birds flying around. The combination of all these things, the suggestive things in here. Great scene. To get your mind would interpret as a kind of country landscape. You need to have all these things in place. That's finished. 12. Lavender Field: We're gonna be doing this really interesting landscape here. And we've got this beautiful building in the background, negatively painted because we've got a lot of darkness there in the background and we've got this beautiful row of lavender fields. I'm going to put in where the horizon line is roughly about CIA. And I've seen these a bit of an inclined to the land, but we'll figure that out afterwards. But we know that it does kinda slants up slightly. What I'm gonna do is start placing the building first. I think that's probably one of the most important parts of this scene. Getting in that top part of the building is quite important and just coming across like this. Simplifying it down into this rectangular shape. And we know that it goes down again more into another rectangular shape. We've got a tree around here, this side of the building. We can go in and put in some little smaller details like this. It's really just to get in an indication of the little tower here on the building. Just breaking that down into smaller shapes. You can see here if you want to try and go. And then at the base of Jonah, kind of a rectangular or square is sort of shape. They're over here going up and we're gonna make this like a rectangle shape and then on top as a triangle. So always look at ways that I can simplify, reduce down shapes into more simple shapes to draw. There we go. We've almost got it. Most of you didn't. We can see here as well this kind of little segments and areas as well, which I won't really bother too much. Just maybe you can get an indication of shadows and stuff like that. We've got a tree here. This is an interesting bit where it may go off into another side of the building here. Again, which I can just indicate like this and not really bother too much with the details. And know, we've got trees that are coming off over here as well. I think I'll get those in a bit of a mountain that just cuts through the sky like that. So we might've been sky up there. Having a look around this side, there's some little trees and things. Some of these little leaves and flowers that are coming up here in the foreground. I'm going to draw just a little indication of them in here because I want to leave some of them actually lighter. But the interesting thing about this is that it creates a kind of, I guess like a pathway into the scene. Having these bits of trees, you almost like a silhouette, little bit of indication like that there. You can see that there's actually a lot of these leaves and things like that, which we can obviously do a bit better with the watercolors light up and I'll draw in a few of them like that. It's not hugely important and more just to mark it out. The most important thing though, I would say here is just a getting these little kind of rows of the lavender fields. And of course when I always try to do is picture, I'm the vanishing points. So we're looking at an area all the way around here with all the lines converge up until a certain point. I mean, it's not super perfect at this stage, but you can see you can see almost all the lines running forward to changed it a little bit so that they don't run exactly as they do in the reference photo. But there's a little indication of it. The vanishing point being roughly around here in all the lines converging towards that point. Apart from that, I don't see a whole lot else that I might want to put in key. I mean, we can potentially indicate some little figures, maybe just walking around in the back thing, but it's not a huge deal. So let's go ahead and get started with the painting. To start this off, I am going to firstly go into the buildings with a really light wash of a kind of a grayish color. Now this color I'm using here is actually a bit of titanium white. Titanium white is a very light sort of milky white color, proximal almost gray down as I suppose. I think this will be really good to start off putting in a little bit of color for that building in the back so that it doesn't look too lots on the paper. Just a little touch of color like that. Another thing you can do is that you might be able to pick up a little bit of a darker color on the palette commutative gray of something. And you can drop that into areas of the roof, parts of the buildings to just give it a slightly different color in areas like that. I remember at this stage all we're trying to do is getting a light wash. Not really any excess details or anything like that. So just this is just a little wall. I'm indicating this wall over here. Of course, you can have a little lighter colors. I mean, even here in the grassy kind of regions, I can pick up a little bit of green and just dropping a touch of green here as well, green and yellow. We know that it kind of goes up. We can put in a bit here. I can actually go in and put in some of the darkness in the background and the greens, let me just see what we can do. These areas probably starting to dry a touch which is good because we can actually go in there already and start to drop in a bit of background color. If it is too wet though, just leave it dry for a second and work on some of these other. It's in pieces here you can see on that right-hand side, we've got some trees and what have you here as well. So I'm going to drop in some of that. They're actually a little bit of a fairness there. So you know that it hasn't completely dried yet. So I won't let that dry off a touch before I go in there. Just again, but I will leave that little part paid. Step that I'm gonna move my way down in here. The great thing is that I've already got a bit of purple. We'll get three different purples, but you can make your own purples at the end of the day. Pick up really just any sort of purple that you'd like. I'm using an amethyst amethyst color and just dropping it in here to try to indicate the rows of these lavender fields. Okay. Dropping it in and letting it mix on the paper and touch as well with that previous wash. That's a good idea. I can just always just keep continuing to feather in a bit more color. This is a little bit of what? Imperial purple, which is a more vibrant purple and I can mix that in with a bit of green. The whole idea here is just to get in little soft indication of everything. What we'll do afterwards is start putting in little bit more sort of sharp details in some of these areas, but little bit of that is going to be good and I'm trying not to go too dark as well, just being careful to preserve that lights running across this this field. I do want to make the areas in the center of some of these rose like a little bit darker as well. You can see obviously some of the overlaps, overlapping kind of areas, but really most of it just blends together nicely. Let me go just a bit of a bit of darkness up there as well. I might drop in a little bit of yellow here at the bottom, little bit of yellow ocher. And the good thing about this is that with the yellow ocher is a complimentary color to this purple. You can really take advantage of this. A schemas already has a lot of complementaries in it. I'm just using one brush and this is just a little watercolor mop brush, mop brush, nothing special at all like that. We might even put in a bit of greens and stuff here as well. But don't be afraid to just leave some areas of white in there to perhaps a bit of yellows will, maybe just running through this sort of section. The main thing I just wanted to do is increase the darkness of touch here at the bottom. Leave a bit of white in there. This beautiful row of, beautiful row of lavender, just preserving some of that. And I'm just so important as well, I can pick up some more purple and at times we want to put in a little bit of these separations. You can see actually in the reference, there are some darker separations in their whatnot. Let's just drop in a bit of that darkness and hope that it melt scene because it has dried slightly. And so this helps to indicate, I guess a bit of separation between the rows and little bit of a little bit of softness in here as well. The separations don't appear too harsh and place. Notice there's also even a little bit of purplish color here and there as well. Just dropping a bit. Fantastic. I'm gonna go into the sky now and I'm going to pick up some dark green, a bit of neutral tint in here, really just whatever colors have caught on the palette that I think are gonna be dark enough to allow me to cut around this building. So it's a little bit harder when we go around. Yes. The edges of the buildings. Yeah. But we want to go we just got to get in there and do it. Really, maybe redo that part like that. Find that the quicker I do it at times, the better it actually looks, the more I labor around and try to get everything perfect. Just looks too awkward. So let's just go in. It's getting this side of that building as well here. Notice how dark I'm going as well, because I'm trying to draw out the maximum contrast I can into the background. And I'm keeping some of the areas a little bit dry brush as well as you can see, it's not all completely colored in up there. As you can tell. Especially you can see here this economy dry brushed mountains or something like that. Wherever in this sign to say that you have to get that in. But that's another thing you have to keep in mind as well. Just a little bit of darkness here in the background. I'm just going to get that to join and melt a little bit in like that. Here. Let's just pick up some more of that color. Drop that in the top here. This is just really almost a purple, really dark purplish color. I think what I'll do is just break it up a little bit and put some green here down the base. Even some lots of bits of green like this, just so that it's not all complete darkness and stop out there. And you can also leave a bit of white there to indicate some trees or just catching the sunlight. Pretty, pretty basic. Gonna leave that building. And let's work a bit on the sky, really simple, just a touch of cerulean blue up the top there, really lots and really in blue. And look how quickly on doing it as well. Just touch and go paint that in. Let it do its thing. That's all I really wanted to do in there. Okay, and we can also just start feathering a bit more of that color at the top. Like that. Really. We're pretty much done with a lot of the dark areas. I mean, we just have to look at in some of these spots. You can see this probably some little branches or liberally leaves that come through here as you can see, just these little branches that you can drip painting because it's, again, this is Witton wet and we're not going to get in too many harsh shapes at this moment. So I think getting in a little bit of this right now can also be quite advantageous over the top of some of this white, white spots and areas in there. So it doesn't look too obvious kind of a bit here as well. I love working wet into wet where possible with one of the most beautiful aspects of watercolors. And I think if you can, if you can leverage that to the best of your ability, you can create some incredible paintings that just looks effortless. Look how quickly I've even painted this. Going ahead. Even here in the trees, you'll notice there are some little elements, little areas of darkness will not drop in a bit here too. It, but being careful to preserve some of that, those spots at the bottom to go in and indicate some branches or something that not really there, but just something I might decide to put in like that section there. I've just sort of a lighter color, something like this. We can go in and just dropping a bit more of these leaves and stuff like that, I can get in a bit more green, grabbing some green and just drop that in here as well. Feathering that kind of over the top of the other colors and stuff like that as well. The really, one of the interesting things you can do too is if you've got a smaller brush, I maybe like a little fan brush like this. I can pick up a little bit of gouache mixed with yellow. And I can create hopefully some little indications of some grass and lights areas of things like these little areas of grass coming through. I have to be careful not to overdo it. But you can see through the scene just these little bits of yellow coming through, okay, And by doing it with the gouache, you get that slightly opaque quality and areas. But an interesting thing is that you also get this feeling of opposition in terms of contrasting colors. And he's contrasting beautiful oranges mixed with the yellows in here. Over the top. A little bit of softness for these ones is fantastic. It's the combination of all these little bits and pieces that actually make it work. Really just try not to over do it. Something like this. Just let it at some of it melting and do its thing. It goes, so I'm gonna let this one dry for a little bit. Just mainly at the bottom. I'm going to go into the buildings and see if I can get in some little shadows in here. Why not? Let's just do it and hope that it melts together. I think that top part is almost dry anyway. Picking up a bit of neutral tint. I want to just getting a little shadow coming in from that right-hand side there. Just like that little bit of shadow. And it's a very light shadow. It's almost it's mostly water that I'm using through this mix. I'm using a little round brush to indicate a shadow on the right-hand side of areas of the building. You can see here there's a bit of shadowed there, there's a bit of shadow underneath here as well that I'm indicating. Rather than trying to make too much of a statement. Just a little bit of shadow. And then right-hand side of the building you can see just crosses over nicely like that. We can go and bring this little shadow across there as well. What else do we got? And lifo layers underneath the rooftops as well. You can just Shape, drop, drop a bit of color in there. It's almost just really just drawing with the brush. While we say drawing is such an important aspect of watercolor painting because you, I'm at the end of the day, that's what you're doing with the brush. So you've got to learn how to use your brushstrokes in such a manner to bring out little details at the end of the day. Maybe go just a little bit of color here, a little bit of darkness perhaps on that right-hand side. I've made go into it a little bit later. Um, but the great thing about this is we able to get in some shadows and get it to blend in with the rest of the scene nicely. Without it. While the rest of the painting has dried, I can go in and even dropping a few little windows in examples like this. Whereas Can we go, we can go like maybe he and it could be some window and warm it just fine. A few little bits and pieces in here, really just a few little windows that you might want to draw out. Like that. It's putting a little bit of darkness under there. Just anywhere that you might think you could see a shadow or something like that. A little window, drop that in until you're happy with it. Another thing I sometimes do is that I won't grab a bit of leftover paint on the brush and just feather it a dry off the brush into the rooftop or some areas that I potentially want to create. A little bit of what you might call it, a little bit of texture. Done it. You can always grab a new it, a paper or paper towel or something like that and just dab off some of those areas. Probably leave that. Now. I'll give it a really quick dry and then we'll get back to the final finishing touches. This is just a little bit of scratching out that I'm doing with the little, little knife that I have. What this achieves is basically it just allows me to get a tiny little highlights that run through the scene. Of course you get some of them. I can do some of them to just indicate perhaps a little bit of this grass and stuff like that. Yeah. You can scratch it out and you have to wait till the paper is almost dried for this to work. To work well, so you just have to experiment around, give it a try and see what suppose works well for you. I don't want to overdo it with this one of this course is not really too many sharp up sort of shapes running through, maybe like some branches and stuff here in the foreground. But apart from that, I think that should be good. Okay, fantastic. So finishing touches, I'm just going to pick up a smaller round brush and maybe a rigger brush or something like that. Just small brushes. And look at really getting in some indications of little leaves or things like that running down the foreground. So I've got this funny shaped flat brush, which I can use to indicate some leaves. Not only that, you can use, all kinds of brushes, rarely use something like this. You can press down lightly, then press down hard and then lift off to create a round shape for a round shape, but basically leaf shape like that. Press good, lightly press down and lift up near the end. And then you can create a kind of I guess that's kind of leaf-like shape. My little trick, do from time to time. Go into scrambled this brush around here, a touch. Just getting a few indications of this. Literally leaves and things running around here, remembering to leave in bits of the yellow as well, running through the foreground. You can get in some larger branches like this one here. Then we can get in some darker leaves also running around the side like this. And then some darker ones here. Um, what else have we got? Maybe some split, another leaves running here as well. And you'll notice these little white. It's just amazingly create just enough contrast in there so that this area doesn't look too flat and boring. I suppose that's last thing that we want. Actually stop a little bit further, it doesn't it? But this is all we're doing. Much you add in here is really, it's really up to you. I just do a little bit of scumbling around. You can see here just indicates some leaves and things. And again, it creates this beautiful sort of silhouette effect leading the viewer's eye into the same. Of course, you might want to look into getting in little areas here of darkness, shadows and stuff like that. The trees. This is just a little neutral tint in here that I am going using for this area. Just drop in a middle, missing those trees as well. It's quite amazing that just a few brushstrokes, how much detail that you can really indicates through all this. The bottom of that building here, this company this year and even a bit of green in front of this building for a kind of know what this is. Yeah, just a little tree coming in front of the building like that. I can just drop in their little tree like that. Do the same over and I put in a bit of shadow on the right-hand side are some of these trees. Bits and pieces up here as well. Good, good, good. Drop in. A little bit of yellow ocher. Yellow ocher, but just a bit of yellow mixed in with white quash. The yellow with white gouache. For this, basically just to put in some finishing highlights and things in here, these could just bring back that wall. Again. Don't want to make it too obvious, just dropping in a bit of paint in this section, maybe running across there. Of course, she might have little tiny little shrubs and bits of grass kind of coming up through these. I don't want to overdo it. It's up to you whether you want to actually put in some figures or just leave it as it is. If you want to put in figures, is just to keep them pretty, pretty small. At the background. I'll just do one now to indicate a sense of scale and to show you how to do one, use a tiny brush, just like in number four round brush or something like that. I'm just going to use a silhouette of a figure came maybe walking through. We can put the head like a bat here. Put the body in like this. Just an indication so much not be at least see Bailey see really, but oops, that could be a figure there. Let me think maybe here. We go, walking through like that. Closer. Closer here. Dark and this one a bit too large but doesn't matter on top. Lot source. So I'll just just putting a little shadow running to the rod like these little they're running towards the right-hand side. That's another thing you can do. Little figures create a sense of scale, kind of walking through this, walking through the scene. Final highlights, I'll just pick up a white gouache. Some new white quash actually because very easily when you make City and externally with a few other little bit of whitewash. And I'll just putting a light little shadows lot literal. On lights on these figures here and the head, the shoulder, mainly to the left-hand side of the figure. Because like that, you can even just drop them in on some areas of the buildings like here if you think you want to get into bigger this chimney here or something like that, or you can go ahead and recover some little pots of the buildings like that. As long as you do it quite sparingly, it works. It works very well. Even there's a little tiny little white fence if you can see it's taught, see, but there's a tiny little white friends that we can get in Things like these little flowers here. We can get in a little bit of a pink color, just dropping a bit of red. Some of these flowers that kind of like a pinkish white color. Just moving in to the front. Here's will catalog using gouache for these finishing touches it creates, just gives it that extra little sinc of detail. We're finished. 13. Mountain Scene: We're gonna start out doing a sketch of this. And probably the easiest thing I'm going to work on is the bottom of the mountain is just where all the buildings and everything starts. Estimating that to be read about a quarter of the way from the bottom of the page. So just where we can see all the water at the bottom estimate around about where that finishes. I'm going to say it's going to go in pretty loosely. We can see this some kind of boat here. I'm going to bring in new indication of a boat or some sort like that. It doesn't matter, tends to hold the details. In fact, I might even one I'll put in another one somewhere in here as well. So coupled boats, sometimes you might get some on the side as well, but we'll see how we go later. It looks like it's docked here. There's a little something, something around here. There's some trees and all that. But anyway, just going to bring this across there just so that we've got an area down the bottom for the water. They hold the pencil near the end as well so we can get a nice looser feeling. There we go, just going and putting in some of these little trees here. And the idea is not to get in every single building that we have more just pick out a few shapes that you might like and to place them in here. I mean, this one here is a kind of darker spot underneath like that. And then you've got another rectangle here. Always look at the shapes. Draw the shapes rather than draw the actual thing itself. Learning to recognize little shapes in here will make your drawing experience a lot easier for, takes a while to convert these things into shapes, but it makes it a look. I'm more efficient, meaning drawing. There we go. There's a building here. Not a picture perfect representation, but it is a building. And we've got another one around the back and we can see the top of it kinda come up around here. Just get that in like that and we can see it just go all the way behind that building. The one thing I really like is actually this tower might just move it a little bit. We'll just make it a slightly larger. And I'll get into sort of exaggerate the side of it more like that. Go ahead. The mass we want this to end up as well. Probably get the top. He didn't like this. It's just a couple of films like a cube on top of a rectangle shape like this. Get the top of virion like that. Yeah. Something like that. Triangle, little triangle on top. This can be changed a little bit later as well once we get around to painting. But as you can see, I mean, it's not exactly like the reference photo, but I've changed it around and you don't want to make it look a little more a three-dimensional. Here's another house running towards the back as well. With that, I'd get that in. Okay. There's something here near the front and I'm purposely not trying to zoom into that reference photo as well, so I can get this in a little more efficiently. It's kind of a side of a house or something here. There we go, there, there's another one here. Let's just again reduce this dance like kind of triangular shaped like this. This is more complicated than a triangular shape, but going to simplify it down to that of the whites, sort of, sort of a building. And then we've got the darkest side here. It looks like the looks at the light is coming directly above. As you can see, sort of lighting up the rooftops of these buildings and see this sort of shadow pattern directly below. So we're gonna keep that in mind that a bit later. When we do put in indications of shadows, cross here. And again, I'm just going to take out a few bits and pieces that I want to indicate this is the side of a rooftop here like that. Just the top of thing. They're a little rooftop perhaps here in the background, another one here. Just see them overlap with each other like that. And giving it a little indication is more than enough. And we've also got some trees and stuff here. Let's go ahead and have a look at some of these buildings. These are so far behind that, you can barely see what is really going on. I'm just going to put in a number of shapes really. You can see the rooftops of some of these buildings. Just stick out like this. And I'm going to not worry too much about the exact details in here. I'm going to actually put them in. Kind of round when we have the watercolors, but this is more of a little reminder for me to make sure that I leave some of these parts of the paper untouched. While at least with some lots of paints in that region. I think that's what I'll do, is a little area here. You can actually see there's a couple of figures here. It's very difficult to see, but there's a couple standing around there. I don't know if I'll get them in or not. It might be too difficult. Smallest size of paper like this. That's about it for the buildings I'm gonna go in and just putting a little indication of the mountains. There's that one key. I'm going to do the kind of closer to the front first there. And this one here extends out, goes towards the back. One thing you got to remember at this mountain shape is that it's almost just one entire entire structure, but this one in the background is just lighter. But I'm going to really try to blend these two together with each other so that they form one big shape. But we also want to get in some of these lighter bits and pieces in there. Okay, so first things first we're going to start off and we're going to use a lighter paints. One of the most important thing for today. One of the most important things to do is to make sure that you start with a wheel, lighter paint. So I'm going to go in and let's pick up a bit of some Italian burnt sienna here and I'll mix it in with a little bit of orange. The reason why I'm using some orange that I want to get some vibrancy. And for some of these rooftops, roundabout here, we can drop it in. Just check it as well, just make sure it's not too dark. A little bit of orange in here, I want to actually have a bit of quinacridone, burnt orange, that's a little bit more of a duller, sort of orange them. That can keep it very light. You almost, you're looking at let's say about 80 to 90% water. Just a little bit of painting here to draw out the rooftops. Okay, I'm not going in with a bit of a bit more of that orange here. Here, here side of this building like this. I might go and have a little play around further down these buildings as well. So I might leave this one kind of white, but the one next door, we can grab a bit of yellow ocher and drop that in here as well. They just blend that downwards like that. Okay, to leave some white on here so I can just lift off that one. Kind of miss the boat a bit because I've gone over it, but it doesn't matter. Indicate that still might just leave a bit of white there. Of course, you've got the white on this tower. And it's not entirely wide, to be honest, you've got a tiny bit of yellowish color, really, really light yellowish color. You can even get away with using some buff titanium or something here. Something like that. I'm just blending it downwards here as well. Just getting the roof. The roof but the little pointy bit at the top with a touch of yellow ocher. Now this is a little more vibrant than what's in the reference, but doesn't matter. He didn't use that tiny bit of yellow ocher here as well for the bottom of this building. So really what we're doing is just trying to get in getting something some little warmer colors areas where we've got mixes of vibrancy and, and then it just goes back to more of a dull color here in the background. Of course, some warmer colors. Again, this is all just orange. Very, very quick dashes of orange in here. And I don't want there to be all that much that much detail in here. Because of course, we want to leave a lot of that for the brushwork later. For the other reason of just pushing these detailed back, if you've added too much detail onto the background, you're going to have issues. It's going to look to come forward to much more focus to be on this area. Okay, So this is just a little bit of green, little bit of undersea green. And I'm just dropping in touch of green here with the round brush. Touch the green would do a tiny bit here as well. And you can see this is all kind of Witton wit, which is fantastic because we can, we can basically getting this as a really large sort of shape to it. A lot easier if you paint wet into wet, wet waves, possible. More green in here. Missed the boat on some areas of the green, but that's okay. We've also got a little boat here. I'm going to just leave that one up putting a bit of orange or kind of a brownish color here as well. Little bit of yellow that I'm going to yellow ocher here further down, which is for me just going to indicate maybe with Buff Titanium, even just a bit of sand or something like that and just blend it. Blend some of this on that. Just dropping a bit here as well. I'm going to go downwards and uncover this area at the bottom with a little more darkness, more so bit of turquoise. I'm going to grab some turquoise and a bit of ultramarine blue to darken that down a bit. Struck that in and have a look. Okay, looking good. I'll just do a bit of cutting around and getting a few mixing and mixing going on in like Pat across, leave little bits of white in here to make this more blue as we move downwards. Just to bring this further down, they're having in some ultramarine blue into this mix here of turquoise, ultramarine and took voice bringing this across. And of course we have some boats here as well, which I'm going to cut around. Some of these shapes. The boats in thinking whether I want to have anymore in years. Well, we're there. I went to perhaps adding another one right at the back, but it's not important. I just want to get in little indications. I mean, this could be a boat here. Just leave that lighter, do something with that in a bit. Stuffed in this all down at the front. Remember this is all going to draw off a tiny bit lighter as well. The really good thing, interesting thing to do is of course, if you have teeny bit of darker paint and you can just drop that in here as well. Just mainly a bit of the ultramarine blue through here, create some of these little wavelike effects as you see. Just makes the water look a bit more interesting. And especially when the, the area, this area is width as well. And a lot easier to do and it looks more natural if you do it this way. I'm going to go into the mountain areas noun and let's just pick up some of these green. It's pretty dark green that I've got here. It's an underscore to undersea green. I'm just going to drop in some mixes of this green with of course a bit of brown and a few of these other colors here. But another thing that I really want to do is also dropping in some indications of these rocks and things here in the background, which requires me to pick up some of these. It's basically a little bit of yellow and a little bit of buff titanium paint. Gonna go in here. And of course, just scramble around with the brush, a touch like this. That's basically just going to add a little bit of that dot and the scene into that darkness. Of course I can go and add my greens and background colors. Again, just using this mop brush I'm going to cut around. This is really important as well. To cut around these little buildings, you only get one chance at this spot away. So you have to make sure you hit counts like here. And if you also want to leave a little touch of highlight on top of the buildings, like you can see here, this little bit of white there that works quite well too. The main thing though, I think that's quite important is this tau. I really want to preserve some of that light on there, so I'm being quite careful not to overdo it. Let's go across underneath, whoops, down the bottom there, cut around the other buildings and we can just make it dark in some spots to main focus is just this building and trying to make sure that you cutting around it enough like that. Good. Going around. Remember the buildings up, sorry. The pieces out in the back, they're gonna be lighter as well. I'm just dropping in a bit of lighter color here. Not like I'm just like a grayish color with some of these mountains at the back dropping a bit in gray and then a bit of this black, which basically is just a just a way to gray it down, a touch, just a very light wash of that coming across. I'm gonna do that, that mountain and there's mountains in the back first. Then we're gonna go through and again, just work on darkening some of these errors. And I've got a few different colors in here. Let the predominant color that I've got a bit of green, just scumbling the brush around this area. As we see here as well. We're getting a bit more extra darkness and things in gamma actually switched to a smaller brush. This is just a little brush I've got here a smaller sort of mop brush. Go around here and just cut around some of these buildings like that. Of course, we can darken this off a little bit more. Put a bit of blue in there to create darkness. Just having a look around to see where I can just create some little highlights and leave a bit of that orange popping through. Just an indication, I suppose if some of those buildings that are not to be perfect, but any indication is quite important. Let me go through and look at that. I'm leaving some of that previous wash on indicates some of the rocks and things like that as well. We can even put in some more in here if you feel like you've missed out on some of it, I'm going to drop in a bit. That will drive fine. You just got to have faith. Be bold. Here's a bit mountain there. Good. Now what I want to do, I want to go straight into the sky. For that. I'm just going to pick up some cerulean blue. Cerulean blue. Actually want to get a clean a Washington assuming because some lovely green is mixed in there. Let's try that. It looks like a lot wash of some ruling and I want this to be very light. Okay, So mostly just water up in this top section here, It's really important to make your skies significantly lighter than the rest of you. A landscape that normally I actually paint farmland top to bottom, but sometimes when I have the sort of buildings, these negatively painted buildings, just go into them first so that I can get in a kind of warmer color to begin with. But of course you can start out and do the sky and cut around you the warmth afterwards. But by doing it first makes it easier because it dries off. I'm really at this stage we are almost done with our first wash. The only thing I can probably suggest is just do what I'm doing here. Just get a few darker strokes of paint running through here, specially near these bits and pieces. Here, the front. And this is really going to help, again to reinforce the lights on the buildings. And it's also going to make it look like these mountains a touch closer, just these ones here in the front. We've got some differentiation between the background. In the foreground, the mountains. Can you please stay on the same layer? There is a large amount in here that we've kind of lost out. So of course you can go in and indicate that a bit more and bring it forward by darkening and remember to leave some of that previous wash in there as well. Bit of green and a bit of brown, maybe good or this black color here as well. Perhaps quite dark, but it doesn't matter. It's probably a bit dark, but it's just gotten that down with a little bit like that. Yeah. Nothing you can do is turn the brush on the side and create my kind of scratchy sort of marks on here. I wanted to do one more thing. I just want to shape this little more neat, like Nita, the tower, urine, the chance to shape it. We can go back in there and get some wash to bring out some details afterwards. But let's give this a quick dry. It'll draw it off. Now I'm going to go in and do the final finishing touches on the buildings, adding some little shadows and things like that. Let's go ahead and I'm gonna pick up probably just a light wash of neutral tint I can mix up a little bit of a grayish color. And we can do things here, just bringing out some areas of the roof. Maybe a little shadow like this underneath the roof here. Some of the buildings like that, one bit of darkness underneath, they're not really that the windows to you can just drop in a bit of paint like this and flesh out windows and details you almost just drawing with the brush. In terms of the paint consistency. I'd say it's about look, I mean, it's a really dark color. Let's do say it's about 80% water and 8260 to 80% water. Dropping that in. Getting into some little details of windows and stuff like that. You can even see these little chimneys and things on the rooftop. But I'm not going to the too much with that. I'm just trying to get in a vacation. Even here you can see them might be a little bit of darkness underneath the pot and you've got a little window there as well. Little areas of the buildings that will have a touch of darkness in there. That little shadows underneath like that. Not only that, but we've got of course, some smaller little trees and things here in the front as well. But for the time being, this is all I wanted to do. Just a little bit of darkness underneath the buildings. Simple things like that. Here on this side, we can of course indicates some of that as well. Touch of color in here and just little bits of detail perhaps with a building's running through that as well. I'm also going to go in and get in a bit of color for the water just a few little larger. So sharp waves are running through like this. Create some sharper shapes for some of these waves. Especially as you in the foreground. Few of these to create some drama, of course, make the waves smaller as we go at the back, just little bits and pieces in the back like that. It will be to wave at the back. Good, good. Just work on some of these trees here as well. I'm going to pick up neutral tint and some of these green mix that together. And I get some pretty dark sort of greens, almost a black color if possible, actually work on some of these little trees. You can see here. The good thing about this is that it's going to help to bring out the light on the same by having one of these dark areas, especially near the bottom, really helps, kind of creates a sense of detail that's not really there. But it brings out the light as you can see on the buildings. And I'm trying to get some more marks like this to indicate there you go. That's a bit better to indicate larger branches and clumps of trees and stuff like that as well. You can just put in a few of those like that. The base neutral tint here as well. We can a bit of a dry brush here as well near the shore. Land meets the water. Notice how quick I am at doing this as well. Pretty spontaneous. Marks can even fires the back into these sections in detail out a little bit more of the rooftops, that little bit of that, this side of that building we can indicate as well. Tawa, really just drawing in. If you think about it, we just drawing in the buildings. A small round brush. Creating these little details. Bringing bringing forth some of the buildings. Ok, bringing forth the details and some of these buildings will do the same over and we won't have DACA and shrubs, that sort of thing. Even the background that just goes all the way. At least ones, these shrubs or maybe the good trees just a little bit closer. Again, it creates a sense of depth because we've got a mixture of light and dark areas. I think that looks pretty good so far. For the buildings on I don't really want to do anything else. They're probably last thing I want to do in this area is just to bring out some of the highlights. I won't grab some gouache, white gouache here that I'm just picking up on my round brush. And I'm just going to go through and draw around the middle bit more detail for the buildings. I might be able to put in a few highlights here and bring back some of the detail on here as well. Just like this. Let's have a look. Even on some of the buildings you might want to get into a bit of white. Let's have a look. What else can we do a little bit of white in here as well, perhaps just where we might have lost touch of that. Bring it back with a few little quick, quick brush strokes like that. Anything I say is just be careful, don't overdo it because you can definitely get to it. Here. There are these I don't know what they have, but they look like little fence and like a little fence or part of the jetty. I can bring back a little bit of that. Course. We've got a boat over on this side, and I can also bring back a little bit of the indicator bit of a sale or a mosque here going up. Here's another boat. I was trying to indicate as well, and I can bring that back against indicate this mosque going up. There may be a boat here as well, a lot of this stuff and you can bring back afterwards. Continue having a go afterwards. I mean, here I could just turn this into a few little boats or yachts here in the background there. So amazing what a little bit of gouache can do. Placed well, and even here on top of the roofs, you can see these little ones so well, but little nice here. They just touching, making contact with the mountains are going to not just dropping a bit of that. It can mix a bit of yellow in there as well. If I feel that it's too white, you're going to be yellow and good. I do like this. Like the top of that. This little tower clock tau. Again, I can shape that it touch more. Amazing thing with gouache. Tiny bit of, little bits of detail like this can really start to bring things back into perspective. Again. The boats have actually probably a little more color in them. Pick up a bit of blue and just dropping a touch of blue here at the base. Really light wash of blue like this. For some of these boats to know just to make them look more boat like, I suppose they're not completely widened fact there's even some darker little spots to indicate like the bits of detail in them. The windows, that sort of thing. That's what I'm trying to do here. Just dropping a few bits of darkness. Not really much else I wanted to do. We can, I'd be some more bits and pieces here, and this could be another little houses off in the distance, rooftops just all way off in the mountains where you can't really see that much. I like to just scramble the brush as well, probably around here. This is just a little bit of gouache that I've got in on the brush and I'm just dragging it across some areas of these mountains. The effect is really just creating some little highlights as well. Often the mouth because we've lost a bit here. So why not? We can recover that and because we're using paper, this textured, it kind of looks like a bit of the rock face showing through. It's a really great technique. Just don't overdo it. Really. He's a bit in the background. We will move it there. They're bringing out some extra rules and things like that. Of course, these boats and things are looking pretty, pretty decent over here. Quite loose looking boats. Few little won't the running through the water as well or just kind of like lots of bits of waves in here. Sometimes you get bits of light that just reflect on so little. Brush strokes like that really make a big difference. I'll pull that one finished. 14. Country Field Scene: Okay, so we're gonna start off with a sketch with this one. And now the first thing I noticed about this scene is that it's very flat on, so you are pretty much standing almost at eye level for this particular scene and maybe a little bit higher than eye level. But it's a lot lower. Certainly in some of these birds I sort of countries, rural scenes that you see at times. It's definitely is gonna be less of a vantage point. It's gonna be an interesting there. Let's go and put in the horizon line. I'm just going to put that roughly where I actually going to look at wear them around the method where the mountains finish and it's just below the middle part of the page. So I'd say about here, just a little guiding line there. First thing I'll do is I'll just put in some of these mountains at the back as well, quite loosely. Like that. Not too obvious. Those bits and pieces. You can see here as well that you've got bits of trees, tiny little trees just sort of mixing and mingling with each other. There's another layer of mountains here as well as you can tell, nice liberal layer of mountains. Here on that right-hand side you've got some larger sort of trees that they kind of just join up altogether and cover up these mountains in the background. The interesting thing as well is that we've also got some potential houses and checks and things like that. It looks like there's a barn or something that over here as well. And the way I'm going to get these in is just by leaving that area white. So that this is a tiny, tiny little sliver of light. They're united so that we can get in just an indication those buildings and some of the background is well, we can stop putting in, you'll have this kind of rectangular shaped roofs. Some of them though they come up like this. Like up and down triangular, slightly triangle looking things. They're facing this way as well. I'm going to go in, just put in some more of these trees. Obviously we've gotten bigger trees here in the front. The light source interesting is whoa, it's almost coming directly above. Yes. Homeless coming directly above the scene so I can't see any shadows. Maybe these ones in the trees that you can see a bit of a shadow underneath, but apart from that, there's not all too much. Okay, so here's some more, I've got some more trees there. Lot of the stuff we're gonna be able to indicate later with the brush. A bit of an undulating area here, kind of like a tiny hill, hilly area. We've got a shrub here. Good. A shrub somewhere here. And this looks to be some kind of a creek river or something coming through over here. A bit of the area where this offense is little fence off in the distance. Everything else in the foreground is just pretty light, so I don't really see anything else we need to put in here. So let's go ahead and get started with painting. And what to do with the sky actually is I'm going to try and just get in some negatively painted clouds with the sky. So I'm going to start off with this area here just with some cerulean off there. Also it helps if you spray the paper just slightly in some areas and that will create some broken edges for the clouds. But I'm not gonna do it. Who? Obviously just a little bit there. Light peeking through that very light area. Keeping the more that you do these areas of the sky that the minute the handout looking. But we still have to pay enough attention to draw out the edges of these clouds. Large, just a really large one coming across here. Just underneath the CLEA. Goes all the way across and underneath here, which is just pretty much really floppy white. The wide areas of cloud. We can add in a bit more color to the sky up the top, perhaps. Something like this is nice. Another thing we can do is pick up a little bit of gray color here, little bit of a grayish color. I'll put it in a bit of brown there as well, but just a very light gray color. Just very, very diluted down. And this helps to indicate some of the bottom parts of the clouds. You just little bits of gray there because they do have a definitely have a bit of a grayish underside to them. It's very tiny bits of indication like that. That really helps to narrow them down and create shapes that look a bit more convincing as clouds. Even over here, we move over to the edges here this logic clouds coming through this side of the scene. I'm going to join that up a little bit like this as well. Just over on the horizon line, you can do things like also soften an edge like that. There's a bit more darkness in some areas, that's okay. This is just tiny bits of neutral tint and you find that this will just dry off quite well afterwards. And to a bailee, light color. Just putting in a little bit of that little bit of that darkness here and there. Like I said, a lot of this is just painted negatively. Darkness there in the sky. You can also just soft enough bits again, just pick up a little bit of water to soften off some of these edges of the clouds if they look touch stuck on or what have you. You can go ahead and do that. This little bit here. That fantastic. And we start moving further down the page. And this is where we can pick up a little bit of green, going to get some dark green and just mix it in. Here in the palette. Just pick up a little bit more darker green. And then I'm going to just drop that in for these distant mountains. I'm back. That might make them a little bit more bluish. Adding the little blues in there. Notice how subtle this line is where the, where it sort of connects up with the area right in the back. The sky. Just a very soft edge for these mountains. There's not much I want to indicate in there other than just a nice soft edge that can be pushed all the way back. Moving further down, I'm going to add in a bit of yellow to this green so that it's more of a kind of a yellowish green color. Little bit more light in there. I might even lived out some of that stuff in the back, but it doesn't matter. One of the interesting things you can do it again, What else? Talking about cutting around the trees. And not just not just some of the trees, but also the rooftops, a little white areas here. We can draw out to indicate some sheds and things like that running through. I'm just doing that just like this. This is only with my mop brush as well. If you've got yourself a brush that's a little bit more, little bit more sharp with a sharp, a tip. Ok, and what I'm using here really makes it so much easier. I don't want that area to dry just yet. So I'm kind of being very quick here to just get this part out to Hawaii. Can be another one. Good. Bring this all the way down. Again. This is pretty light green, very, very light green. The tricky is also just layer over the top of all the other greens later on. But I want to get in a light sort of green to start off with. You can see here what's happening as well is that we are getting to part of the scene, the foreground part of the scene. This is where I start to pick up a bit more yellow and I've got some yellow ocher and some normal yellow. So it's basically a yellow ocher with hansa yellow mixed together, maybe a little bit of buff titanium. Just pick up a bit of this color and drop that in. Remember to add in just a fair bit of water as well. And look at that. I'm just bridging that gap. But at the same time creating some, there are some edges funding little edges are little bits of white in there, no problem as well. We can continue on. I think having little bits of white in there is actually favorable. Prefer, prefer that because it adds a little bit more interest. More of this yellowy color. Buff, titanium. You'll notice also this area is not completely. He's not completely just yellow. There are bits of dark, dark areas. Just maybe pick up a touch of brown. Mix that in, into this. We can get in a little bit of variation in here. Just dropping touch of that. It's kind of a bit of brown mixing with yellow, very light brown. This creates some variation here, subtle variation. It's almost like how you do waves. Spring sum across like this, just lines that will eventually melt in this width area. I don't want them too dark. Just want there to be enough variation in here. Give it some interest. Well, alrighty, fantastic. Let's have a look. What else do we want to do? So I'm thinking at the moment That's looking quite good. I am going to pick up a little round brush. I'm gonna stop working on bits and pieces in the background. And for that, I'll just test first with a little bit of this green. I'll actually get in touch. Maybe this background here, like another row of mountains off in the distance that just kinda covers those ones that we did a little bit before, but kinda goes in front touch because you do actually have some dark areas of those mountains. Just another off to Witton wet area underneath like that. But the mountains in the distance they received back up a bit so we don't need to touch them at all. I'm going to pick up some more green. Let's mix it in with a bit of black, a little bit of black here. And you can also put inhibitor of blue to blue or black. Doc and down that green here is a bit of darker sort of tree here. And as we move towards the midground, look at how soft it looks while it blends. When we let it sort of blending with the yellows. On the page. There's one, we've got a bit maybe here. Got another one maybe here. A lot of trees and tree-like shapes running into the background like this. And it's important to get in some of those shapes, certainly, okay, and get a sense of overlapping areas and contrasts. I can leave some trees negatively painted like that as well, just to leave a bit of lots of the left side, for example, there, remember to make that stuff in the background and a little bit lighter. It doesn't make it all really dark. Another thing is that you're going to get areas like this in the center which still very light. They still have the washed on the green that we added on. So we're just gonna leave that. You can use that brush to indicate trees just moving through this area as well. So you've got some interesting shapes, tree shapes, indications of tree shapes are running through. Just the same green that I'm using, a really dark green. But I dilute it down a bit as we move towards the back. Pick up a bit of this stuff which is just going to be some closer trees here. Using a round brush because it makes it so much easier and the concentration of paint as well, we making sure that the paint is pretty dark. So you're not using much water in here because if you use too much water, it's going to spread everywhere. So make sure that you Using definitely a much lower concentration of water than what you've got on the page. That's the trick with Witton width. In order to control things. This is just what you need to do. Little bit, little bit here, kind of line just joining there and there perhaps. It's almost like an edge for some of these trees here. On the edge of this field going there and just darken that right-hand side of some of these trees and have you as well. Good. Here in the foreground. Sometimes what I like to do, It's not so dark here, but I can use a little laid and see if I can scratch out some tiny highlights here. You can see just think they didn't. Some indications are blades of grass, that kind of thing here in the full brand new, it works best actually if we wait for the erythema, dry slightly and then go in, if you go into early at one scratch off that paint and you're going to be left with with areas where the water just runs back into it. Nested. Make them small, rough in the back. And you can even indicate like little bits of fencing and stuff here as well, without having to actually paint it on some gouache. Little bit of fencing. Again, this area is pretty drunk. It's almost dry. You can go really just lived off this paint quite easily. These little bits of fence that's so tiny little areas like that. But they do make a difference in considering that. There just a few little strokes here and there, they really do make a difference. Worry about the suspense code sort of goes around the back here, doesn't it? You see little bits of it just disappear off behind these trees and join up again. Here. You can also scratch out buildings that might or might not be there like that. One here. Put one here as well. And not only that, but you can sort of scratching trees as well, just branches. Finally, scratchy technique is fantastic. Craigslist, another type of brushstroke, brushstroke, but just another type of mark on the page. Looks a bit different from everything else that you've done. Join up some of them so that they look a bit more like, it's offense to do this, just join up a bunch of them scratching here in there. It's almost as if you could do this with gouache as well. I mean, you could wait to afterwards, we can just do it now. I find that less glossy use at times, the better things can actually watch. It only meant to be a finishing thing. If we rely on it too much, it just gets powering. A few little bits here as well, just for the again, for the grass and little bits of grassy areas and just scratch off some areas. You'll notice some of the paper does come with it and get rid of that light will just wipe it off. And this is also some paint that's being scratched off along with the paper, but I find that it does won't be so noticeable afterwards. Down the foreground, I'm adding in larger sort of scratch marks like this for large bits of grass in the foreground. This helps to create the sense of depth in your scene so that you've got got some sharp a bit closer bits of trees and things like that. Go back into this one more time. Let's see if I can bring out a tiny bit more detail on these trees. So we'll pick a few of them like maybe this one here. Just a little bit of darkness on that right-hand side. And our trunk, perhaps coming into the ground. Another bit of a tree here. We've got the tree to condition largest shrug here in the front book. Of course. I'm just dropping in a little bit more, a bit more sharpness in there. If you think you've ever done it, just lift out like that. Often that a little bit down, drop in like this. Just detailing, adding in some more errors that might look like trees or shrubs, that kind of thing. And I'm like I said, I really don't want to overdo it, but these are just a little dry brush strokes running through here that I give the illusion of details, especially out further. A few trees like that. Another one they're going to put in a little bit of gray color underneath the buildings. The whites of the buildings look just a light wash like this. Leaving the rooftops. What this could be, this could be like a water tank or something. You could even look something like a water tank. Can just be like tree trunks. That's what our darker bits of trees. Feeling adventurous. You can also add some figures in here. Now, just demonstrate what that might look like. So if I pick up a bit of darker paint here, let's see what we can do. Actually see if I can pick up bluish, coolest sort of paint. Let's get like almost a purplish color. Can imagine the head of the figure is perhaps, let me just see perhaps here, the body, shoulders and the head will have to kind of do it later. Just put in a couple of lakes like that. Some arms, someone walking into the scene, maybe there's a friend there as well. Very simplified. Because just walking through. I can put in another one here as well. Just for good measure. You need to add a bit of a shadow at slight shadow as well here. So thinking because we're just indicating a bit of the shadow overhead, might just get a bit underneath them like that. Basic if it is not much to boost about. I'll give it a quick try in a moment. But before I do, I'm going to put in some birds as well, few here off in the distance you can see just make a few kind of just flying off into the clouds and pick off a few of these little bits in the sky as well. We might decide there's a highlight, just little white specks that might come through the sky. I just use this to these birds to sort of just join up the entire scene. We've got good variation of birds and also making the sky join a bit with the land, creating a kind of a way to path between them. Done probably future Minnie there, but that's okay. Give it a dry with the finishing touches. What I've done here, I've picked up a little bit of white gouache and edit in some details here, indicated some hats here for the figures have also added the colors into the gouache to indicate some public clothing for the figures as well. Here we used a warmer colors, indicated a kind of a rake or something like that there. But I've kept the darkness here in the lakes in the background. I've used some whitewash to bring out some of these fence posts really small amounts and maybe bits of the rooftops here. But apart from that, it's all, it's all pretty much the same upon the gouache gives it a little bit of better finish. I think once you've added in a tiny bit to it and you can bring out small details and you can go over dark areas if you mix your gouache with a bit of lighter color as well. I find that helps. 15. Rural Road Scene: Now this is a really interesting scene because I loved the shadows that are running through the light here on the ground is sort of lift right Shut up pattern. There's also a little car here, little red car, I think it is just a warmish looking car. You can see just the negative shape of the car with the shadows in the background. Ethyl, That was a really nice touch. So let's go ahead and ammonia get an impression of this. And firstly, drawing the horizon line, It's kind of hard to see it, but it's almost at the same height as that car. I'd say about a third of the way in the page roughly here. So if we go ahead and draw that line in just like that little line there, would like to start maybe drawing in a bit of this cough or it's just a little indication of it like that. Of course, putting the rest of the details that probably a bit later, but I just wanted to get started, put in a small indication of it being such a focal point of the actual painting. Just few drawn to that car for some reason. Anyway, there's a little bit of it there. I don't know whether you want to add too much in here. We can see there's a kind of, I don't know what it is, a kind of tree here. There's even a tree next to the car. There's a kind of looks like a little fence or something running a wall or something here, just going into a sod of this house. Over here you can see a couple of polls. And of course just a lot of this kind of shrubs and stuff. I'm here on the ground, which is really important to get in just an indication of where it sort of starts and when the it kind of rode the track track, but basically the road begins a little bit of that shadow of the car. Want to get too obvious. Course getting shadowing later. Let's have a look. What else we can put in here. Now this is all just, just shrubs, just large trees coming in in the solid here. I think we can get a bit more of that in later when we actually put in the details. But we're gonna get into sort of this building and I'll probably change it around a bit to make it look a bit more three-dimensional, something like this. Maybe, maybe get in a tough rooftop or something here. Almost like that could be two stories or something. Yeah. I think the aim is to get good light coming on the left side of that building, just over here, and then have the right-hand side more. So in the darkness, something just changed around and you'll find that you have to do this at times to keep it interesting. Especially when we're emitting a bit of detail. Put these little palm trees just coming up and up to indicate a little bit of that. But it's not by any means too much detail at all. Okay, so let's get into the top of this car. Maybe a little bit of the boot heel, back of it. Then we'll just a little bit of detail. I'm going to find that a lot of the detail just going to be added in through this pencil and later on just add the shadow is inhibitive Collado want it to be too. Just to detail just a little indication of that car there I think would be good. Look. It does look a little bit different from the photo of the car, but we will make do just kidding the tire here. Fantastic. Another thing I might do is actually put in a figure, maybe standing like this on the side and the legs coming out the front like that. They could be another person here. I'm also just sort of walking. Both of them, kind of standing. It looks almost like a walking stick. Actually. I didn't really see that before, but sometimes we need draw. You end up making little mistakes and they end up turning out to look more interesting. So there's a bit of a figure there. Facade of this road. It ends, tip a little bit comes in about here. We've got a bit of shrubs and things coming in to the foreground. A bit of a fence, some kind of building on the side, but a lot of it is just this kind of fence. I'm going to try to simplify this down really and just make it or largest tree shape and connected on, connected onto that left hand side of it. I think that should be it for the drawing, it's quite simplistic, but I really want this to be a quick impression of what I see here. I'm really see a little story with the figures here. Maybe getting out of the car and having a stroll around. I'm going to be using some warm paints to begin with and not always thought out painting the warmer parts. For example, here I can just drop in a bit of yellow ocher to the ground. I've got a little bit of these other colors will called buff titanium. And this is a great, great little color. Buff titanium and yellow ocher mixed together and it creates a set of Sandy looking sort of color. Move that around a bit on the page like that. And if you get a bit of the paper showing through, just let it, let it be, let it be. Find that just suddenly has little bits and pieces actually make it look more interesting. So there we go, a bit of that. Better. This ground area. I might just getting a bit of the side of this building. Random bat here. Little bit more of a warmer yellow, perhaps more vibrant yellow. I mean, just running through there. The car. I might actually make it a kind of orangey red color. Just drop that year. I want to make it a lot as well and hopefully blending downwards like that into the ground. Good. Let's go have a look at the building now I think a bit of this, this is just a bit of burnt sienna and I'll pick up a touch of yellow just to add in here, touch of yellow and move this I've led to the right-hand side is dark and down to the right-hand side again. Like that. Again, the colors are so light in this section, but I will add in a little bit of this green. And the great thing about going lighters that you can always go over the top with it afterwards with a bit more strength. Remembering to leave little bits of that previous wash in there. So important, but I'd like to get it to mixing with the buildings, as he could say, just a little bit of mixing here into the buildings. It's also abstract at this moment because all we're doing is just adding colors, letting it mix on the paper, and seeing what it does. Just the first step of this entire scene. You can leave a bit of white there in the paper as well. The sky. This is an interesting one because I actually want, I'm thinking whether I should leave that school. I pretty much white or am I getting a really light turquoise color up in the sky? Little bit of light to turquoise color running through and I can just dial it down a touch as well with some of this grayish color. And it'll shift this all around. It's such a light wash, You can barely tell that I've added color in here. I'll mix a bit in here with the tree and the lift. You have some kind of Lost and Found edges. As I move further down, this is where I'm going to get some more green. It's just a bit of darker green. But I've watered it down a touch. Undersea green. Just drop this in roughly where the tree shapes are. And you can see a little bit of that bit more of that green just dropped. They didn't hear that. Yeah. And let it mix nicely with that cerulean blue. And don't worry if it if it mixes in with the sky little bit as well, just let it do its thing. We'll come around. I might put a bit of yellow into that green as well, tiny bit of yellow into that green. These just to create a bit more lighter green and change it up a bit. I'm going to cut around these figures slightly. The rock and just blend it. That's fine. That there we go. I just drop some of that green color in there. At the moment. I think that's looking pretty good for a preliminary sort of wash. We've got a lot of the colors that we wanted. The next step really flipped from me is just looking at maybe some wetting wit work that I could potentially work in a bit of color. And it's going to shift the water around a little bit on the page as well as you can see that it just runs down and touch here in the backgrounds. Basically what you can do is actually pick up all the colors. You can pick up a little bit of darker green, mix it in with a bit of blue. You can get other little bits of dark greens that will fit quite well when you drop him in like this. I'm using a little round brush, but I can also pick up these little rigger brush that I've got here, this tiny little rigger brush. And it's fantastic because it allows you to just get in small marks like these kind of similar to the round brush, imply some shadows and dark areas in here. And so just some of this wet-in-wet Dr. Witton, which darker strokes in here. I love to put these in while the paint is still wet. And the reason being is that you can't really get these effects later. So when you want to make, want to make it look more interesting, you'd want to put in a variety of brushstrokes. And this is one of the techniques of C Witton width to get in a variety of those, those brushstrokes. So what I'm doing here, just another ring in little bits and pieces. Of course there is actually a shadow of running, a few shadows running across the ground, but I will leave those later to look a bit sharper. A bit, a lot of detail around here actually, but this is just a little bit of smaller details, little bits of grass and stuff that I might feather in here and create a slight blend with what, what's going on, on the paper. Little bits of grass or something like that. Because it just mixes in with the and it mixes in a little bit with the wet areas of the paper is looking decent at the moment. Really just go ahead and do this in two. You feel happy to stop. It may be early, but you can also go in and pick up some darker paint and do something like this and getting some of these branches that spread up out of the same like that. Of course, these are kind of waiting wet ones, so they're going to definitely spread a bit more. Find that, Yeah, I always like to have a combination of brushstrokes so that there's not just sharpness running through the entire thing. So it's not what this will do just fine in my opinion. We just let it seep in there and create some little slight little shopper and branches and effects like the fact that they run across and connect with each other a bit like that. Of course here the near the car as well, There's a bit of darkness in there too, behind, but do you want to leave some of these later when we've got some dry brush strokes just to even things out a bit. But a little bit of this is always good. Love working wet into wet where I can. The softness and just the way that it just all blends together. You just really can't be pet. People say you can't layer while the paint is still wet, while the page is still wet, you have to wait for it to dry. But you know what? This is proof that you don't need to wait. Of course. You want to wait for the paper to dry slightly get a little bit dry than what it was. Obviously when we put the water on. But as you can see, the paper's pretty, still pretty wet. They get these nice, beautiful soft, which you call it it just shrubs and things and you can put in a bit of blue. Notice that notice I've just added in a little bit of blue there. And the blue into the green just darkens it down. And so we'll just dock into down a little bit so I get a sort of shadow shape here. This area has kind of dry it off a bit and I'm tempted to go in, put in. Some of the shadow is actually here on the ground seeing is as it's dried. So I'm going to pick up a bit of blue and a bit of neutral tint mixed up here, maybe some purple. I love using purple as a shadow color. We can go in, for example, around here. Smaller round brush might be better. Actually I'm using a little bit brush. But if I go in here, for example, in it's putting the tire of this car right here, it's gonna be so dark. Leaving indication of that car tire connected up there, the underside of the car. Then I'm going to put in this shadow underneath the car here. Really have to make sure that paper is almost pretty much completely draw it almost tried to be able to pull this off. Then we can bring this across and we've got these figures as well, which I can just get in the shadows of those figures next, next door as well. The shadow for maybe some other bits and pieces running into the background like that. To have a look here, this is maybe a bit of a shadow running across to this right-hand side and blending it on slightly as well with some of these. Somebody's stuff here. Just joining it, finding ways to join it. Destic. Bring this across here. That can be like that. Sometimes you will get some shop a bits that reach up like that and just finding ways to connect. Now you've looked at this, this is even just some little bits of shadow that might go up and joined to this right-hand side somewhere. Well, a find the shadows are fantastic for creating a sense of connection. In your scene. It doesn't look all the same. It doesn't look too disjointed. I mean, we're joining both sides up. I'm gonna give it a really quick dry now. This is dry it off really nice and flat. Now I'm just going to go through and work on some of the shadows, bring out a little bit of that building as well. Start with the building first. Actually, I'll just put in a bit of that darker color here on that right-hand side of the building because we want to imply that the, the light source is coming from the left. I can use that to sort of cut around the very slightly like this, work around the roof. Not only that, but I can also pick up a bit of dark paint and just indicates some of these trees or shrubs or stuff like that. Just going behind the car that we get a more some more sort of looking shape around the car. Extra detail where it says sticks out. A little bit of detail here for the wind screen at the back of the car. This a little bit hue of the details. Of course here at the bottom. Again, just, these are just really, really quick indications. Putting a little bit of darkness indicating these shrubs are things going behind and behind the car, but also behind the figures as well. So cutting around the figures and we can just get this indication of them, bring them out a bit more. Remembering to leave in some of that beautiful color, that beautiful soft wash that was left previously is what we don't want to color it all in. Here. We want to leave some of that amazing lots of sort of washing here. This is just a little bit of brushwork that I'm using to indicate them some of this tree running towards the side, it's a very light wash of green and a bit of gray that I've mixed up. Lighter lines are actually like that. Just want to get in the largest shape perhaps around some of these areas for these maybe like a tree or something coming forth. They know you're going to have some darker ones may be in here as well, just darker sections along the fence. There is a little fence. He looked at it very closely. And so there's another another sort of sort of a house or something to that right-hand side as well that I can just cut around like that. Another thing I probably want to do as well as just emphasize a bit of a shadow on the ground. More than I had before, but just something like a bit of a dark shadow that joins to that right-hand side. I want to miss some of these shadows up a little bit as well so they don't look too. Stack on into obvious like that. Just look a bit more good. Drop that onto the right-hand side. Just disappears off there. But really pop and that will just picking up a few bits and pieces. You can use different brushes. I love using some of the more unusual brushes like this one. He is a flat brush that's kind of angled. It's caught on a kind of ankle and this is a little fan brush. And these little brushes work so well to get in my Newton details and do it in such an efficient manners, we'll look at that. This is just some lie to green that I'm picking up here. Can you just putting it in here because I don't want to make this area too dark. I want to have this Harriet a lot lots of than what's on the left-hand side. It definitely indicating bits and pieces of shrubs and debris and things like that is quite important for me. So I want to still make these brush marks somewhat visible as you can see, but again, just still significantly lighter than what we've got on the left-hand side. Just a bit of the split of the CMB, this color here, a bit of that. They're behind the tree, that kind of thing and you can pick up a bit more darkness. I think that's looking pretty good. The only other thing I might do is perhaps get in some indications of some tree branches, just some different different little ones that go up as well. Move like sharper looking branches because we've got in the background and really softer looking ones. As you can see, the contrast of them is gonna be really important. Now the tree kind of disappears behind this. It's like a fence here. I'm going to indicate it most likely. So we can just be indicator in select structure. Tea, be a fence in more light green to mosques that a bit more and make it look less obvious. Fence darkness running into that fence like that kind of abuse could be the shadow from the left as well. Like that. Good little bit of this color still just to get in. Again, little bit more of this indications of these branches holding the brush, holding this rigger brush near the end, it really makes a difference to creating randomized looking branches squiggly. And that's probably a bit much but kind of branching over to that left-hand side as well, joining everything up and we've lost a bit of it here on that side. So I can always just do something like this. Try to join up a little bit of that. Of course there are these kind of palm trees and I'm going to try to get the mean maybe with a few quick brushstrokes, something like that. This may be just just a little indication of these palms, palm leaves running down here. You might have a few more here in the background or something like that. I want to make the background too dark as well. You want to make sure that it's enough. White. Goes slightly lighter in the back. Lift off some of that paint and touch more of the softer green, which layering over the top. Really light green, just really light green. Almost can't see the sky now it's hard to see. Okay. This is looking good. I'm just going to have a look at this tree here in the left-hand side. I do feel a little more darkness in here. A few strokes of this interesting sort of brushstroke for the leaves and stuff would be good. This leaves. Just to mean that you use it to cut out a bit around that building. Increase the contrast of that building so that it just looks a bit darker around the edges of it. This, the rest of it can just look like it's coming out behind that kind of thing. They're neutral tint mixed with green. To get in this vacation. Darker bits. Going to put in a little bit of a bit of darkness, just a bit of orange and neutral tint mixed together. The warmer area of the car on the right-hand side, it's just more to indicate that a shadow on it. Something like this. To make it look like there's a shadow running to the right-hand side of the car. Little sharp shadow. Not too much effort at all. The house. Often you're going to get these little windows and things and they help to just draw it out a bit, a bit more so I can just go ahead and put in some little details like that. There's also, of course, this palm tree that just goes up the vertical running there. The figures. It's really a matter of now, picking some colors for them. I might pick up a bit of these 11 to collapse like a bluish color. It's just cool in mind. Something like that. The one on the right, I might go with some red color. Could be good. Touch that won't running in there. I'll give you the script dry. Finishing touches. I'm going to go in with a bit of gouache. I already have some here on the palette. It's kind of white quash just mixed with white gouache just makes it a bit of yellow. What I can do is I can actually bring back some of this area here, put it in a little bit of light on some sections of the shrubs and things here. Almost like catching a lot in areas that this is a great way to draw out details that you might have lost. The other wash over the top because you maybe gonna be darker areas or what have you. So this is a really fantastic way to do it. You can also mix in a bit of green there if you want to create some sort of competitive lot highlights on these trees and stuff, I can just, I don't want to overdo it though and spend all day doing this touch of that like that. It's good to put it in a little bit here or here. Not the largest catching onto some of the areas. Just to balance it out a bit like that. In terms of the figures, I'll just grab a bit of that yellowy color. Wash the corner. Let's see if I can just put in a little while. Maybe on the edge of that car like that. Be good. You can just draw out the little bit of the shoulder and the head of the figures like this. Just a touch of coloring like that. And bring out some of the details of the biggest, whatever might be going on in here. Good. Too much, but just a little bit on the house as well. Sometimes you can even go over some of the bits and pieces in here. Like a tree or something, just the edges of it. Wherever you think that could be a bit of white, just catching onto the area. And we are finished. 16. Sunset Scene: So we are going to be doing this nice landscape scene here. And I'm basically going to just use this as a rough guide because I do want to do this old pretty much wet into wet and see what we can come up with. I'm going to put in the area of the full graph, just this little green area with lots of shrubs and things sticking out. And this is quite striking if you can see the way that I'm just scribbling around but just putting in positions where I can see maybe some of these little bits and pieces of shrubs and things like that. In addition to that I posted, I think I will add in a tree of some sort here. Just put in a little basic shape of that tree, the mountains in the background, I'm going to actually do also wet into wet. There are two sort of layers of mountains I'm thinking. See how we go, but I'm going to just try to get them both in over the top of each other. This one, this layer of mountains he had just a bit darker. I do like these cloud at the top and I will do it. I think I'll do it just softer. But here's the little indication that tree I don't think I will in any other ones in the foreground. However, I will have maybe one out here, larger one in the background like that. Sometimes what looks good is that if there's a much sort of thing running through, that there's these little almost like a indications of branches running through, but that's all I'm gonna do for now. I'm gonna leave the rest up to my imagination as we go. What I'll do first is just start with the sky. I'm going to use a bit of quinacridone, burnt orange, and loved this color. It's a granulating orange. I don't think you can really find a granulating. Any other granulating orange. Just looks quite beautiful in the sky. I'm going to go through drop that striking, striking like that. And I'm going to shift that around, shift that water around as we get down to the bottom, I'm going to just add a little bit of yellow at tiny touch of yellow in here. This is hansa yellow. And I'm doing that near where the mountains are as well. Just around here at the top we know more of this orange. Another thing to keep in mind as well is the Cloud, this large cloud shape that we have going on in there somewhere, which I'll have to think about in a moment. But I'm going to bring this down and as we go down, I'll pick up some purple, just a little bit of purple like this and I'm just dropping a little bit in here. What else we can do? We can eat, drop that bit of that purple and notice how I've left a tiny bit of white there as well in some areas of those mountains so we can do that. Move that purple in there. I'm just trying to create a really soft sharp edge to the distant mountains. But also you're going to have a little bit of white running through in some areas as well. Let's see how that looks. It looks at k. I'm not pick up a bit of some lavender color as well. Maybe drop a bit of lavender in there. It looks a bit too little bit too dark. Touching lavender. Fantastic. Gonna continue down the page and pick up a bit more purple. I'm going to be using a console, console violet here, which is a fair bit darker. And I'll mix it in again with a tiny bit of this violet mixed with lavender. Just want to get a juicy, a kind of lavender color. These drop that in. And we got a lot of complimentary is going on here. I just want to complementaries bit more of that. Azole violet, specially with the, the mountains. This other layer of the mountains meets the one, often the back as well. So a little bit of that. Fantastic. As I'm going down, I'm going to pick up a bit of green, just a little bit of this. Let me get to this green that I won't have to clean the brush off a little bit, putting some yellow in there as well, bit of yellow and a bit of that green k1. And also keep in mind, this area is pretty dark, so I mean, it's a kind of a sunset scene, so a lot of it is just a little bit pretty dark even the foreground. But the reason why I'm just trying to get it as a lighter green here in the foreground is so that I can drop in some paint wet into wet and preserve a little bit tiny bit of warmth in here as well. Just a little bit of that orange I float out, feather it in here, not dropping a bit of that. Okay, That is looking good. And sometimes you get a bit of paint that just be too much here in the edges. You can just mark that off with a brush, touch that brush in the corners, lift up and continue. What I want to do here is look at how we can add in some of these trees and do it in such a way that preserves that previous wash as well. What I do, I tend to just let it sit and dry a little and then we can test it a gag and pick up a bit of green, mix that with some neutral tint. Just have pretty dark green and I can go in and just do something like this, just a little dropping in little bits and pieces and just test and see. The paint on the brush is very dark as well. You have to remember, it's quite a thick paint in order to get it to stand out and through the page and need to create a thicker, thicker paint. There we go. Good a bit of that running through. Given some little undulations of the land. That almost they're not really perspective lines, but just little undulations. Just make it look a bit more three-dimensional. Few little lines, I'm making them run diagonally almost. You'll notice some of these are just starting to melt him. And they looked quite obvious before, but then they tend then they start to melt in a bit and he can't quite tell that you've been putting those bits and pieces. But here in the foreground you've got a lot more light, lighter areas and so we find many dropping this darker paint. It shows through more, but the trick is to just make sure that you are also leaving enough of that previous wash behind the the docks only look good when you have the lights, light bits in there as well. Really crucial thing to remember. I also liked to use a bit of scratching out. Yeah, I think it's too early for that at the moment. But I have a blade that I will flick out and I use that to scratch off a touch of touch of paint. But before that happens, I'm going to work a bit on perhaps this tree and I've got a bit of a tree here. I'm gonna pick up a bit of neutral tint, neutral tint with blue tint and ultramarine blue. There. Bring this. It's kind of like the trunk of that tree. You can see just a little bit of this tree going up like that and spreading through the sunset. He's got some sharp branches up the top. But the same time we've got some of these other ones as well. I've also forgotten one thing is Cloud. Of course I've got to put the Cloud and you just pick up a bit of this purple, see if it's a bit too late. Getting some little cloud here. That distance maybe hesitant to go up there because it's thought to dry off already so I can maybe use the side of the brush to do something like this. I wouldn't do too much more. And then maybe you could get in a cloud like that. And that left-hand side and just blend it a bit sharp, a sort of cloud and distance dry off nicely. Again. Just going in and seeing what else we can put in. Here is another, another kind of just another kind of tree or something off in the distance here. I'll drop that in here like that. Stick. We have it. We've got a couple of trees already. Not too apparent, kind of blend in a bit. But they are definitely trees. And of course, you can keep going in and doing the same sort of thing. I like to also spray a bit of water at times to soften and create a bit of drama running through here. Look at that. Just a little bit of water maybe goals of water running through. It just softens and creates a bit of mixing in here. I don't think it's time or you can scratch off a bit of tiny bit of paint like this as well. That too just getting some highlights. Excuse me, that kind of blades of grass, but it's probably too early still do a lot of this stuff. We can just get a bit of it off in the distance. Notice how it just creates a bit of white highlights and error on the paper. Just to create some contrast here in the foreground. Going to pick up some more of this darker paint. And let's see if we can just go ahead and drop in just indications of shrubs and things. Smaller ones. There. Could be another one here or something. I'm a little distance. The smaller ones barely see them. Get them to kind of lapply being melt into the background. See you in the foreground. And some funnel perhaps scratching out work. This can be really good at, almost draw you into the scene. Let me roller blades of grass or something here in the foreground. They just leave it in and then getting smaller. The back. This is quite exaggerated. Of course. I'm doing it at the moment. We have finished. 17. Class Project: The class project is to sketch and paint a watercolor landscape. This can be a sane featured in one of the class demonstration videos are based on one of your own photographs or saints you've observed outside. You can also refer to the skin drawing and painting templates attached below, which will allow you to trace the drawings if you choose to do so. I recommend during each scene, freehand. Drawing is an important step in improving your painting skills. Provides you with an opportunity to compose and plan your painting. Completely drawing lightly and loosely in pencil so that it won't show through in the final painting. This is especially important for background details such as mountains. Once you've finished the drawing, usually watercolors, steps, and processes included in the class demonstrations to complete your painting.