Watercolor Mountains & Pine Trees

1. Introduction: I'm limited on what the lead on this and an illustrator. Mountains are the most amazing constructions. Mountains offer fresh air and scenic beauty to their inhabitants. Beautiful peaks of mountains, bodies, pine breeze and the other flora gently invite us to visit them host often. As an artist, I love to paint a variety of mind, please. The terms associated with the beautiful mountains. Also, I now use a bunch of different green color pigments to paint my pine trees. In this class, I explained to you how to paint by increase in finding different ways, by using various brushes and techniques. We are going to paint too loudly projects by using watercolors in this class. Each project is unique on its womb. However, both heaviest similarity that spine bring. I'm so excited to explain you various techniques which I use to pay my paintings. Get ready Video someplace. Let's start. 2. Supplies: You need 300 GSM cold press, watercolor paper. Make sure you are using 100 percent cotton paper. You can use whatever brand you have beat you. Here you can see the list of colors. What used for binding in this class. You can download this list from you at Project section. You can use whatever brand of polos you how we do. You need fewer round brushes, a liner brush, brush, brush, brush. Filbert, dyna. If you don't have full but planar, you can use Van brush or an old brush in the place of Gilbert brainer, and then a wash brush. Along with these someplace, you need a plastic knife. If you don't have your plastic knife, you can use any old credit card in the place of plastic knife. A masking tape, clean water into jars and few paper on clean cotton cloth. Get ready with your supplies. We can start. 3. Pine Trees In Five Different Ways: In this lesson, we are going to see how to paint pine trees in five different ways. I'm using my liner brush for painting that bleed red by using sepia and burnt sienna. And I'm using my fine brush for the foliage. You can see I'm moving my fan brush and creating the foliage for the binaries. I loaded my fine brush with the olive green and I'm going to use Berlin. Berlin. I mean, I'm going to use olive green, us laid upon L value and paralleling green as darker tonal value. You can use any kind of green colors for painting the foliage in this practice session, after painting the brain, by using the same fan brush, I'm creating some grass just below the tree. Now, I'm painting that bleed drank by using the liner brush. I'm using burnt sienna here and then I'm creating some branches. You can see the branches not uniform by using a fine brush, unsafe state of green colors. I mean, olive green and perylene green. I'm painting the foliage. You can see how I'm moving my brush and creating the foliage. I added the later boolean values first and then adding the darker tonal values. You can see how I'm moving my brush and breeding the foliage. You can follow the same protocol when you are painting fine please, by using fan brush. After painting that Read reg and foliage, I'm going to use the same set of green colors to paint some bushes just below the trees. By using the CPR on liner brush, I'm creating the breed rank. Now. I'm going to use an old brush for painting the foliage. I'm using the same set of greens. I may not agree as like the tonal value and paralleling green as darker tonal value. I'm painting the foliage. I'm using creamy consistency on milky consistency of the colors for painting these kind of foliage. If you use watery consistency of the color, you won't get proper results. So always try to use creamy consistency, are milky consistency of colors. When you are trying to create this kind of foliage, you can see how I'm moving my brush and creating foliage. You can follow the same protocol when you are using an old brush for painting the pine tree. Here, I'm painting some bushes, just be loaded by using same set of greens and then hold the brush. Now, I'm painting the trunk and branches by using say, BR and liner brush. And then I'm going to use a filbert greener brush for painting the foliage. I'm going to use the same set of greens. I mean light green. I mean later tonal value for olive green. And then doctrinal value, Berlin green for painting the foliage. If you don't have filbert planar brush, no worries. You can use fan brush and an old brush for painting the foliage in the place of filbert greener. It then see how I'm moving my brush and breathing the foliage. Also, you can see the brand is and how they are popping out of the foliage. I keep adding the colors and gently improving the tonal value from lighter to darker tonal value. I'm not adding the lingering everybody. I'm adding Berlin green at the bottom portion of the tree. And at random places to show the presence of Delta College. You can see, I'm not painting the foliage, everybody. I'm leaving some white space in between them. I'm in negative space in between the foliage to create some interesting effect. By using the same favored greener brush. I'm painting some grass just below that list by using same set of greens. You can see how I'm moving my brush and grab some grass structure and some leafy structure on the grass, you can follow the same protocol. Then you are painting the DRI and graphs by using filbert greener. After painting the data by using liner brush and burnt sienna, I'm adding some olive green and perylene green colors for painting the foliage. Here, I'm using the round brush. You can use any round brush for painting this kind of foliage. You can see how I'm moving my brush and reading the strokes for the foliage. You can follow the same protocol when you're painting the foliage by using any round brush. I'm not applying foliage everywhere. I'm leaving some white space in between them. I suggest you to practice all these kinds of trees, grass and bushes before getting Indian main painting. You can see how I'm moving my brush and creating some random strokes. They are not uniform. To show the presence of foliage. You can use fan brush, filbert, Dana, or an old mesh, even noun brush for painting. By increase, by using the liner brush and creating some brass and leafy strategos just below the dream. 4. Project 1 - Purple Sky & Mountains: I'm getting the paper before adding the colors. I'm going to play complementary colors for painting the sky. I'm applying permanent orange now, I'm using a small brush to apply the colors. After applying the permanent orange, I'm going to play the purple. I mixed my one bubble by mixing said Julian blew it, Alizarin crimson. I'm going to play that allows one by one. I'm going to gently blend them with each other. The paper is still wet and I keep on adding the colors and gently blending them with each other. I apply the permanent orange initially and then I'm adding the open. You can see how I'm blending the colors with each other. If you have more breaths with you, you can use that. You can use bigger sized round brush in the place of my brush. By using yellow, medium sized round brush, I'm applying a less but among Danes, I'm going to use tallow turquoise, ultramarine blue, and blue, indigo, burnt sienna, and say BIA for painting the mountains, I'm using the medium sized round brush and applying the colors, but the maintains Imam later Donald values and the top portion of the mundane, let us, I'm mumbling Dr. Brennan values at the bottom potion of the mountane. You can see how I'm moving the brush and gently blend the colors and blending them with each other. However, I'm not applying any colors in the middle portion. I'm in middle orange portion of this guy. The paper is still wet and I keep on adding the colors and blending them with each other. You can see I'm applying, Dr. Brennan values the bottom potion of the mundane. I'm adding the colors one-by-one. And until I feel satisfied. You can see how I'm reading some peaks on the moon beams. You can follow the same techniques by moving the brush. Now, I'm applying some burnt sienna and CPR just below the mountains to show the presence of the land. The paper is still wet and I keep on adding the colors and gently blending them with each other. I use burnt sienna as the night that Donald value and SAP the darker tonal value here. By using a liner brush, I'm splattering some tiny droplets of water on the moon base to grieve some interesting effects. I'm using a liner brush to apply the tiny droplets of water on the mung beans. By using a plastic knife, I'm going to create some vertical highlights on the mountains. If you don't have the plastic knife, you can use any credit card. I mean, any credit card in the place of plastic knife. To create these kind of highlights. I'm gently being off some colors to create these kind of highlights. How about when I'm making only few highlights? Not more than that. Now, I'm trying to lift up some colors from the line by stopping so that I can breed some elevated land. Hubble. Don't overdo these steps. 5. Trees & Bushes: I'm using a liner brush for painting that runs. I loaded my brush with sepia. I'm creating various sizes of the trends because I'm going to paint them various sizes of Greece. I'm using burnt sienna add some places and CBS at some other places. I'm going to use the mix of olive green and permanent orange, olive green, sap green, and perylene green for painting the foliage. I'm going to use the mix of olive green and permanent orange and slated on l value, olive green and sap green as McDonald values, Berlin as darker tonal value. I'm using fan brush for painting the foliage. You can see how I'm moving my fan brush and creating the fully edge. Now, I'm using the mix of permanent orange and olive green painting the foliage. And then I'm going to use olive green and some places that bring out some other places. And at the bottom portion of the trees and the, and random places. As we have seen in the practice session, I'm moving my fan brush and creating the strokes for the foliage. You can follow the same protocol when you are painting the foliage by using fan brush. I'm using milky consistency or creamy consistency of colors for painting these kind of foliage. You can see how it slowly and gradually I'm increasing the Donald values. Now, I'm using olive green and some places, and somebody had some other places for painting the foliage. And then finally, I'm going to add Berlin green to the foliage. If you wish. You can use fan brush for painting the foliage. Or you can use an old brush, filbert brain, and for painting the foliage. It's beautifully you a choice of selecting the brushes and techniques. If you wish, you can use same set of colors for painting the foliage. You can use your own choice of colors for painting the foliage. I mix to some amount of permanent orange with olive green. I'm painting the foliage so that I can create some connectivity with the sky. I keep on adding the colors and gently improving the tonal values. You can see I'm not painting that, please. Everyone. I'm leaving some gap in-between that lease. If you wish, you can use Alizarin crimson for painting the sky in the place of permanent orange. By using same set of greens and burnt amber purple mix and breeding some bushes just below the trees. You can see how a 100 and sky that is popping out of the foliage and radiating. I keep on adding the foliage and improving their tonal values. I feel satisfied. You can use various measures and greed, different typos, drugs for painting the foliage. I mean, you can use fan brush and unwieldy brush also for painting the foliage. 6. Water & Trees Reflections: I made the paper. Before adding the kalos. I'm going to use permanent orange, purple, ultramarine blue, indigo and lavender mix and indigo for painting the water. Now I'm applying permanent orange. I'm using a medium sized round brush for applying the colors. If you wish, you can use medium sized round brush. You can use the dash. After a plain, permanent orange. Now, I'm not playing the mix of indigo and lavender. I'm popular. And I'm going to add indigo. I'm adding colors one-by-one, slowly and gradually. The batteries still wait, and I keep on adding the colors and then blending them with each other. You can see I'm not applying the colors in the bed. I'm leaving some white space in between them to show off some highlight. You can see how I'm using my round brush and now the colors and blending them with each other. You can follow the same technique when you are playing that allows for painting the water. I'm going to paint the reflections now. I'm using sepia and burnt sienna for painting the tree trunk. I'm using a liner brush here. The paper is still wet and I'm adding the gallows, painting, the foliage. I'm using the same set of colors. What the hell used for maintaining that, please? I may only agree. And permanent orange mix, olive green, some green and perylene green for painting the foliage. I'm going to use the mix of olive green and permanent orange as light value, olive green and sap green as McDonald value, and not the tonal value. By using a fan brush, I'm painting the foliage. I'm following the same protocol what we have done in the previous lesson. The mix of permanent orange and the olive green for painting the foliage. And I'm going to use some green. And then I'm going to use olive green and some places. And I'm going to use Berlin, Berlin for painting the bottom potion of the trees. The paper is still wet and I keep on adding that follows. Sometimes the paper may become gray. No worries. You can add foliage even on the dry paper. It's purely our choice to paint on wet paper. On dry paper. If you paint the reflections on your paper, you will get soft reflections. That is, if you paint the reflections on the dry paper, you will get a prominent reflections of the trees. I keep on adding the colors and trying to breed reflections of the trees. It's not necessary that you have to plead exact reflection of the trees. Now, I'm applying some olive green heron and slowly, gradually increasing the tonal value. And then I'm going to use sap green add some places, but green and some places if at all, how paralleling green, you can mix liberal amount of indigo with sampling to create your want Berlin green. You can see the paper is slowly getting brighter. Still. Let's put painting the foliage. Initially, me, how you did a mix of permanent orange and green light. The tonal value. All green and sap green as McDonald values and paralleling green as Doug good tonal value, I'm applying now Berlin green as darker tonal value. I'm painting the foliage. You can see how slowly and gradually I'm painting the foliage and their donor values. Here also, I'm painting different sizes of reflections as Lake the police. Now I'm using the mix of burnt umber and Popolo for painting some bushes or the reflections for the bushes as what the land. You can use, either indigo or the mix of burnt umber and PR. But for painting the reflections of bushes and line, you can see how I'm using my fine brush and creating strokes as reflections. I keep on adding these kinds of reflections until I feel satisfied. At the same time, I'm using the same set of colors in the lambdas, but to create some connectivity between the reflection and the land. And some random strokes as in the form of bushes. I'm trying to fill gaps in between the grease by using fan brush. I'm using I'm too dark greens for these kinds of strokes. By using a liner brush, I'm creating somebody random strokes. My main random grass and leafy strokes. Destiny elder Greece, and also creating some reflections for them. I knew the mix of burnt umber and bubbles, as well as add some places I'm using indigo. You can see how I'm moving my brush and creeping random strokes as in the form of leafy structures and brands. I keep creating the leafy structures and grass. Also at the same time, I'm breathing reflections for them. Now by using an old brush and by using the mix of bond, amber and Bob been, I'm creating some bushes and grass. And the bottom portion of the painting. Now I'm using my liner brush and some grass and leafy strokes just near the bushes. I'm using sepia at the bottom portion of the bushes as dotted tonal value. I suggest you to practice these kind of strokes in a separate paper before getting into your main painting. I'm not adding more amount of bush here. I'm just adding little amount of Bush and grass here because I don't want to make it to be overcrowded. I'm using the mix of burnt amber, purple mix and weight brush to create some highlights on the bushes. Okay. 7. Adding Details: By using a flat brush, I'm praying, lift-off some colors from the reflections. I can create some highlights. I'm gently trying to lift off some colors from the reflections. I'm not doing it to everyone at random places. I'm trying to lift off that balance. Don't overdo this tape. I'm using a flat brush and trying to lift off that balance horizontally. And I'm going to make some vertical strokes as well. I mean, I'm going to lift off some colors, as in the form of vertical strokes. I'm gently doing this step without damaging the paper. I'm creating a minimum amount of highlights on the reflections. I'm not overdoing it. Now. I'm creating some highlights near the bushes and spun. It can see now I'm trying to lift off the colors that typically and creating some vertical highlights. I'm not going to make more amount of vertical highlights. And to make feel. My round brush and black, I'm trying to paint a few birds on this guy. I'm adding one leaf few birds, if you wish, you had more number of births. I hope you really enjoyed painting project one along with me. Let me know reviews about this project. If you wish, you can change the colors according to the rubbish. Also, you can use that idea of brushes to paint the pine trees in the place of fun brush. 8. Project 2 - Blue Sky, Mountains & Land: I'm reading the paper before adding the colors. I'm beating the A&P or paper before adding the colors. I'm using alizarin crimson know, and then I'm going to use steadily and blue and ultramarine blue for the sky. I am using a more breath for a plain colors. Slowly and gradually. I'm applying the colors one-by-one and then blending them with each other. However, I'm leaving some white space in between them to show the presence of some weight bloats. The paper's still wet and I keep on adding the colors and blending them with each other until I feel satisfied. Now I'm using my liner brush for gently blending the colors with each other. You can see how I'm blending the colors with each other, however, maintaining the weight space in between them. Now, I'm using a law, a law bring Ali brain paralleling green, burnt umber and bubbly makes CPR for painting the mountains. After applying the alloca, now I'm playing some a labrum and then only brin for painting the mountains. I'm using these colors as a value. And then I'm going to use perylene, green, burnt umber and purple mix, and CPR as not the tonal values. I like the tonal values on the top portion of the things. That is, I'm applying darker tonal values at the bottom portion of the mundane. Still wet, and I keep on adding the colors. For painting the mountane, I'm using a medium sized round brush. If you wish, you can use round brush or you can use your flat brush in the place of round brush. I'm applying some perylene green here and that to show the presence of some bushes on the mountains, by using a liner brush, I've splattered some tiny droplets of what do one demo base to give some highlights. Once I'm reading the bottom portion of the paper before adding the colors and then I'm adding a locker. No. And I'm going to use olive green someday. A low Green perylene green. Bernstein, say beyond. For painting the lines. I'm using a medium-size noun breath for a plane that colors. You can see how I'm applying the colors and then blending them with each other. I'm applying water among conflated don't l values just below the among Danes. The paper is still wet. I keep on adding the colors and gently blend with each other. After applying the greens, I'm adding the mix of burnt umber and Bobo. And then I'm adding some burnt sienna and then say BR here. And that unsaved, they are showing, are depicting the presence of some soil here. And then how would I know to apply once the CPR everywhere I'm randomly are playing here. And then by using a big brush, I'm trying to lift up some colors to create some highlights in front of the house. Now, I'm using the mics off weight Bush and lemon yellow and as tiny droplets here and there. 9. Painting House: In this lesson, I'm going to show you how to paint the house. For that, I'm going to use Alizarin, crimson, purple, and burnt umber mix, burnt sienna, say beyond. That always makes for painting the shadows. After applying tiny amount of alizarin crimson on the roof. I'm Bamba and pop mix here and there, and then blending the colors beat each other. However, when I'm maintaining some whitespace on the roof as high late, I'm using my liner brush that allows us, if you wish, you can use liner brush. You can use small sized round brush in the place of liner brush. You can see how I'm creating some strokes. I mean lines on the roof. After applying the mix of bubble and burnt umber. Now I'm applying some burnt sienna here and now I'm playing tiny amount of say, BIA on the roof as an output tonal value and gently blending the colors with each other. I'm using the same set of colors for painting the houses when I'm applying colors and blending the colors with each other. How we're trying to maintain the highlights on the roof. Now, I'm applying the watery mix of tadpoles and indigo and this portion of the house. And then I'm adding some burnt sienna in the form of streets. I'm creating some random strokes by using bonds, the anomaly. And then say beyond. All, I'm using the mix of burnt umber and open. You can see how I'm creating some random strokes and the walls of the house. You can follow the same protocol. Then you are painting the house. Now, I'm using the darker mix of ballo, darker San Diego to paint the shadow just below the roof. I'm using the same set of colors for painting this side of the house. However, I'm not using more amount of colors in this portion of the house because it is our highlight. Now I'm using a medium sized round brush for applying the colors and then blending them. How we maintain some highlights on this portion of the one. Now i'm, I'm playing the mix of indigo and download on price as in the form of milky consistency on creamy consistency. To breed some cast shadow. I keep adding the details to the house and I feel satisfied. I'm adding more than among not the colors in this portion of the house because it is in the shadow portion. 10. Group Of Pine Trees: By using yellow painted brush, I'm painting the tree trunks. I'm using burnt sienna and some places and say be unseen places. I'm greeting various sizes of breed runs before adding the foliage. For painting the foliage, I'm going to use olive green, sap green, chromium oxide, green, and lavender mix, Berlin green. I'm going use olive green and sap green as later tonal values. That is, chromium oxide green and lavender makes as McDonald value and Berlin as darker tonal value. I'm not going to paint pine trees everywhere. However, I'm going to leave some space but lambda here and then after bending the main branch, I'm going to add some branches by using burnt sienna and some places and CB and some places. I'm not going to make uniform strokes for painting the branches. I'm just creating random strokes while painting the branches. I'm using my liner brush for painting the brands as the less for bending the branches. You can see how I'm moving my brush and creating random strokes while painting the branches, you can follow the same protocol. I'm adding very few branches for each green. If you wish, you can use burnt sienna, our CBR for painting that we drank and branches. Or you can use your own choice of browns for painting the tree trunks and branches. By using an old brush, I'm going to create the foliage on the pine trees. I mean, on the branches. You can see how I'm creating foliage on the branches. I loaded my brush with only breathe now. And I'm going to use some green and some places. And then I'm going to use the mics off chromium oxide green analog vendor for painting the foliage and beryllium as darker tonal value. I mean, not good portion of the boundaries I'm going to paint by using Berlin green. I'm using a round brush for painting the foliage. Here. If you wish, you can use round brush. You can use fan brush on filbert brush according to your convenience. After painting the foliage by using olive green. And then I'm going to apply sap green here and depth. And then I'm going to play the mix of chromium oxide, green, and lavender. I am going to use perylene green. Now, I'm using my fine brush for painting the foliage. You can follow this kind of ethnic also by painting the foliage, by using one kind of badge and you can add some more details by using another kind of brush. This is also possible. Now, I'm using the mix of chromium oxide, green, and lavender for painting the foliage. You can see how I'm moving my brush and creating the foliage on the trees. You can follow the same protocol. Then you are painting the foliage. I keep on adding the colors one-by-one and increasing that tonal value for painting the foliage. You can see I'm not painting mode amount of pine trees. However, I'm going to add some bushes in between the boundaries. Straight to paint the various phases of please, in your landscape painting that I had yet great value to your paintings. You can see how these are coming to the sheep. Also, you can see how the brand is or popping out of the foliage and giving some highlights. As we mentioned before, elderly, I'm leaving some white space in between the foliage to create some highlights. If you wish, you can use same set of bins for painting pine trees. Or you can use your own choice of grains per painting the pine trees. You can see the pine trees. They appear somewhat bluesy by applying the mix of chromium oxide, green, and lavender. If you wish, you can use this mix. You can use your own choice of colors. You can see how slowly and gradually I'm increasing the tonal value and giving different dimension to the trees. After painting the please, I'm going to add some bushes just below that. I keep on rotating my brush to create different kinds of strokes for painting the fully each purlin green. Now as not the parallel value, I'm not downplaying Berlin green, everybody, I'm applying Berlin green at the bottom portion of the grease. As some random places. If you wish, you can add little more trees. It is possible by using same say dof colors. You can paint some more trees here and under. The painting, three drank straight. I'm painting the trees by using fan brush and say it's a Dublin Carlos. Hello, Good. Don't try to fill up their land. 11. Shadows & Details: I'm using the mix of fallow, turquoise and indigo for painting the shadows just below the trees. I'm using a blender brush here. If you don't, how blender brush, you can use an old brush in the place of blender brush. I asked the light sources coming from right side. So I'm painting the shadows on the left side. I'm adding shadows for the trees as the less bought the house. According to the light source, I'm adding the shadow. I'm using the mix of indigo and download dark eyes. I'm adding shadow for each and every tree. You can see. After adding the shadow, that does giving different dimension to our painting, I'm adding shadows but each enabled. However, I'm not creating lengthy shadows. Also, I'm adding some random strokes here. And then by using the same set of mix, I mean indigo and ballo telco is mix. I'm creating some random strokes here and there to create some connectivity between the land and decrease. I'm adding some shadow here because the shadow of the tree that falls on the roof, so that I'm adding some shadow here. I keep on adding the shadows. It's possible. I'm increasing the density of that cast shadow by applying the darker mix of Daniel that goes on the NICU. I'm using tallow, lowercase, and indigo mix for painting the shadows. If you wish, you can use same set of colors for painting the shadows. Or you can create your own darker shadows. I mean, darker colors for painting the shadows. By using my liner brush. I'm painting some brass and foliage on the grass. I'm using the mix of burnt umber and bubbly and say Biao for painting these kind of foliage. I mean, these kind of bushes, grass and fully ages. If you wish, you can use liner brush, orange. You can use any old brush or filbert brush for painting these kind of bushes. I'm painting these kind of bushes and grasses at random places. And then just below that trees. As we have seen in the practice session, I'm painting the bushes and foliage and grass here by using the liner brush. I keep on adding them until I feel satisfied. By using the same set of colors. I mean, burnt umber and Bobo mix unsaved BIA. I'm using an old brush for painting some bushes just below the trees. And at random places. You can use filbert brush for painting some grasses to create some connectivity between that lease and the land. However, I'm not hiding their land. I mean, I'm not painting more amount of bushes. I'm adding few words on this kind. If you wish, you can add few birds or you can add more birds as well. Thank you for watching my class. I hope you have enjoyed painting along with me. Kindly let me know you are reusable that class also share your projects with me in your project section. Happy painting. Hi.