Watercolor Painting - Pen & Wash Sketchbook Techniques Course For beginners | Rod Moore | Skillshare

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Watercolor Painting - Pen & Wash Sketchbook Techniques Course For beginners

teacher avatar Rod Moore, Artist & Art Teacher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Promo Video


    • 2.



    • 3.

      Painting Kits & Palettes


    • 4.

      Pens & Brushes


    • 5.

      Sketchbooks & Paper


    • 6.

      Basic Sketching


    • 7.

      Sketching A Cube


    • 8.

      Sketching A Ball


    • 9.

      Sketch A Cup


    • 10.



    • 11.

      Simple Colour Wheel


    • 12.



    • 13.

      Simple Washes


    • 14.

      Landscape Painting Principles


    • 15.

      Simple Landscape Demos


    • 16.

      Landscape Demo 1


    • 17.

      Landscape Demo 2


    • 18.

      Moody Sky Landscape


    • 19.



    • 20.

      Coolum Beach


    • 21.

      Barwon Heads


    • 22.

      Point Lonsdale Lighthouse


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About This Class

This Watercolor Painting course is designed for beginners with a desire to learn pen and wash techniques.

In the Watercolor Painting - Pen & Wash Techniques course you will learn how to get started sketching in ink and applying watercolor washes. By following along with what you learn you will know how to create great looking pen and wash sketches at the end of the course that you will be proud to hang on the wall.

This Watercolor Painting course is designed for beginners who have never picked up a brush before, through to intermediate level artists who are looking to try out watercolour painting and sketching.

The course covers some of the key things you need to know about painting with Acrylic paint including:

  • The characteristics of Watercolor Paint
  • The equipment needed for pen and wash sketching
  • Which pens to use for sketching
  • How to use Watercolor washes to best effect
  • The basic primary colour palette to use 
  • The key to painting effectively with pen and wash techniques
  • How to create a sketchbook full of simple pen and wash paintings
  • The basic equipment to use for pen and wash paintings

Plus the course will teach you abut how to paint simple landscape & seascape paintings including:

  • The correct use of Values in painting
  • How to use Aerial Perspective in landscape & seascape painting
  • The basic composition of good landscape painting
  • How to create a sense of realism in your landscape & seascape painting
  • Creating light in your landscapes and seascapes
  • Developing layers of depth in your landscapes
  • Painting structures and objects in your landscapes
  • How to paint moody skies in landscape and seascapes

If you have always wanted to learn a simple approach to Watercolor Painting then this is the course for you. By the end of it you will know how you can fill up your sketchbooks with simple easy to do pen and wash paintings. They take fifteen minutes each to do and are ideal for when you are travelling or on holidays.

By the time you have completed this Watercolor Painting course you will have developed the skills and knowledge to continue on in your learning of how to paint with watercolor, and more importantly how to create terrific little paintings using the pen and wash technique.

Join us today for the Watercolor Painting - Pen & Wash Techniques course and let's have some fun doing your first watercolor painting today.

The course is taught by Rod Moore of Moore Art School and the host of the weekly online TV show Learn To Paint TV. Rod's method of teaching has enabled beginners who have never painted before to pick up the brush and start painting right away. He has taught more than 15,000 people globally how to paint and hundreds in his one day workshops.

Meet Your Teacher

Teacher Profile Image

Rod Moore

Artist & Art Teacher


Rod Moore is the founder of Moore Art School and the creator of the Moore Method of Painting. He has taught hundreds of students to paint in his one day workshops and more then 20,000 globally through his online courses on learning to paint.

Living in Noosa, Queensland Rod draws his inspiration from the natural beauty of the amazing coast and beaches he is surrounded by, and the breathtaking beauty of the hinterland region.

Rod is the creator and star of two TV shows, Plein Air Painting TV and Yes You Can Paint both 13 episodes. The TV shows have been broadcast around Australia and New Zealand and have been extremely popular with those wanting to learn to paint.

He is a full time artist and art teacher and his passion is for helping beginners enjoy the mag... See full profile

Level: Beginner

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1. Promo Video: Hi, I'm rob more from more at school. Welcome to my studio in this course watercolor painting. Penna Wash Technics going to explore how you can start to create grant little sketches using pen and watercolor washes and start to do sketches and paintings using this really simple approach in the course, I'll go through all the mature that you need, including the different types of pens, different sketchbooks and paper that you can work on. And we look at the tops of brushes and very lot white water. Keller kids and travel kids. The great thing about pen and wash sketchy is that you can go on location on holidays, more traveling and cracked, grant little sketches and water. Calpine's using this really simple technique, so I'll show you everything about how to do the sketchy with the pens had to apply basic watercolor. Washington will explore things like credit values and Cala Wheel. Understand that kala paella in water? Keller For this type of a practice drill, water kala pain. And then we'll do some demonstrations for you. Some really basic Lanschot pa pining demonstrations and some really simple Seascape painting demonstrations. And by the time you go through this course, you will have really developed some great knowledge around how to do simple pen and wash water Kala pains. And Philip, your sketchbook full of great little pine ings and have a lot of fun in the process is well so please, if you paid interest in learning about water Kalapana. But you weren't sure. Way to stop. You're looking for a really simple approach, then pen and wash. Pining is such a great approach to watercolor. So please join me register in the course. And I look forward to seeing you on the inside of this very comprehensive course. See, then Ches. 2. Introduction: good day, and welcome to the watercolor painting course pen and wash techniques. My name's Rod Morris from or at school really excited that you've chosen to join us for this course. Now if you're like me, you love water kellog. But you just looking for How do you get started with water? Kalapana pen and wash techniques of one of the easiest ways to get started with the medium of water? Keller Watercolor hasn't done challenges. Now when you're learning to paint with watercolors, can be quite challenging and can't be one of the most unforgiving mediums. But with the approach that we got to show you in this course of during Super Little sketches, using water soluble pens and ink and then applying bicycle, it'll watercolour washes to those sketches anybody can produce grant little watercolor sketches. You know, no matter what your experience levels, I've designed this course for beginners. But even if you're intermediate paint up on and you're looking to expand your knowledge, this is a great way to do that. So what I'm gonna do in the course you show you step by step, Everything in it denied We'll start off by going through the different materials in eight. You know what sort of sketchbooks and Piper do you want to get a hold off? This course will look at the pens, the brushes, little travel kids for your for your paints. Little palates will also they look at things like what type of calas de in aid will explore Trading your own kala wheel. Getting an understanding of your cattle palette had a mixed colors with water Kela and understanding values with watercolor. The white you control your values is through how much water you applied to the pigment. And a lot of people don't know that when they start out with water. Kalapana. So we'll explore credit values scale using watercolor as well. Well, look at sketchy because obviously we're gonna do pen and wash sketches. The first part of that is sketching right, so we'll do some example sketches, and we'll look at How do you credit three dimensional representation off the image that you're trying to sketch? And then we'll look at some basic watercolor washers. How do you apply washes on no sketches to my tiny and enhance that's three dimensional look , and then later in the course will get into understanding basic landscape painting principles, which is important. And then how do you apply that? Tow a pen and wash sketch all the landscape, and then we'll do the same thing with Seascapes as well. That exciting course. It's very comprehensive. There's nearly four hours off videos here. If you work your wife through each of the examples and then also take what you learn and go out of the field and do your own sketches using the pen and wash techniques. Your battle. Um, then you're greatly improve your techniques, either next coming months. So take your time, work your way through Each of the examples, have some lumber, but most of all, and you, too, will soon be doing pen and wash water. Kellogg pilings look right, and you know, you absolutely have a lot of fun doing this type of approach to pain. So I look forward to seeing your fish results. Let's get stuck into some planning and let's have some fun 3. Painting Kits & Palettes: Okay, let us Now look at painting kids. If you're going to go out, travel into the field and do sketches on watercolor paintings in the field, it's important to have a good traveling painting keep with you. So this is one that I've got from Windsor and Newton, and it comes in a little patchy with struck that you can put around your wife if you want to. I've never done that. I just throw it in my backpack. However, if I happened, it's up. It's pretty much contains everything that I named for going out and doing sketches and water color washes in the fields. First thing we have here is a different pens, which will go through. I've got water Kela brushes for sketchy. He got a number of different brushes and different tops. There will quite small, such specifically designed for small sketches in the field rather than doing bigger paintings, if you like, s a quite a good little sit up there and in the patchy with a little container for water. Eso you feel that up with water and obviously water is an important part off water Keller. And with that, there is also open this up. A little expandable water container. Okay, this quite handy cause it folds down flat. You don't need that. You could just use a little jar or something like that. You don't need a little water. But this little things quite a handy little thing. Get these from mice out. Supplies stores on does fold out like so. So I pretty much self contained. You can put some piper talent here is well, and, uh, in the back here of got little tiny little water. Kala book sketchbook. Okay, andare she is quite handy. These are, ah, postcard that. So you could do a sketch on this side. And on the other side, you could send it to somebody as a postcard. So that's quite a handy little device. And then also got have a little artist trading cards for doing sketches and things like that on. So there's does in the back there. Of course, if you get a journal like we talked about them, you may not use those. And then lastly, we have the painting. Pellet. Don't excite yourself. You can never quite figure it had open next. Here we go. And this one always does this very thing. All the packs alewives moved, so there's a little a pack pods that came with this pellet. Okay, I probably prefer to use shoot, and we'll have a look at pointing in another video. So purely for the reason I'm showing you now eyes that these do tend to pop out. So what I'll do is when I've finished using all those pants up, I will squirt paint into the little wells there out of a tube rather than use these little pops again. But they quite good. It's got a little spot here for mixing their on, and you go to different wells in there for mixing. So what you want to do when you're mixing paint and we'll talk about this as we progress is use one for war. Cool colors. One for warm, you know, grains and so on. They have little separate areas for mixing your pipe. You can also mix in here if you want to. Quite a good little device. Good little palate perfect for going out sketching in the field and as a complete folds up nicely on bond just packs away quite neatly. Now this one here is from Windsor and Newton. There's a few different brands around that make these travel kits like this. And if you have a gang while on holidays or you want to go on painting that area that's quite populated, you don't want to take it big set up with you for water. Keller panting in the field. And this is absolutely ideal. So another couple of options here, This is a war Keller palate than oy got when I was in China, and I like this one. A little thumb hole there you can put your thumb. You could hold that. Support that in your hand, like So you got it pants down this side, and you've got different mixing wells now. Not as I don't claim my mixing wells from session decision, because I just reuse that Keller so far accepts and grains all mixed it. He purples docks, you hear warmer colors, and he always mix over the top of those and pick up whatever color is in there. And part of the reason why I do that is a graze the color back so that we don't have to highly saturated the painting, their little sketches, my pants down here. I like this is a good little kid, even out in the field. This is quite a portable little kit. Now, you would also then need some way of transporting your brushes and pens and things which you wouldn't get just using something like this. But if you're taking a backpack or something, then that would be perfectly fine. I have a couple of kids. These are actually my father's on Gotham after he passed away, and I haven't really claimed them up since taking possession of them. So you could see that in transit. Some of the pants run and I will get around to cleaning this up. But this is another great little little kid. He had this some little telling. There you take that out and you've got the mixing wells here. You could even mix on this side here and then you get a different colors in there. Now, as I said, clean this one up. But it's a great little kid ideal for traveling. You could pop that in handbag even if you wanted to on then another one that I discovered he had, which is even smaller. And I think this is a beauty as well. It's a little finger hooking NASA and hook it onto your finger like so. And then if you open it up again, it's got colors down here mixing well in the middle and two other mixing wells here. But one of the things that I really liked about this one, is it ahead A little, uh, well, in the bottom of it, where you can fill that up with water, I say could fill up with water and pour that into your water container when you arrive on site. So quite a handy little pocket sized DeVos and a couple of other good options there for you for palace. And I guess what you need to do is just experiment with a few different palates until you find a palette that suits you on the way that you want. Teoh work in the field trial and error is usually the best thing 4. Pens & Brushes: Okay, so I've just come back to my my main travel kit here. This is the one I used mostly for pen and wash type sketches. And I just want to shave what I've got in here in terms of the pens, pencils and brushes that I'm using and you don't need a lot. I think that's the most important thing. You ended a handful of pieces of equipment to really go out in the field and be a successful. So what I have here is three different pens. These are water resistant independence. It's important you get the water resistant ones. So this one here is a unit you nippy in water and fade proof pig Monique care two. Very fine. One of 2.5 and you know it's very fine detail. You would use that one for that. Use that one a lot, but I've got to others here at the 10.4 outline drawing system can again. It's pigment ink, water bias, water resistant. That's the important thing, because if you put down Inc and then you tried to a wash over it on that wash disturbs the very put down. If you're not gonna have much fun put that way. You want that The to be a remain resistant to the water and stay in place on I've got a uni ball I want as well again. It's another water resistant pen and, you know, quite a good little pen again. Important just to play around and experiment and try a few different pens until you find the pin. That's right for you. In a moment. We'll have a look at the characteristics of these when we put them on on the paper you think I've got is there's too little water. Keller brush pins. Okay, I have a little well, So if you unscrew them this little well, you can fill up with water here on your script. Back on here. You can buy this for couple dollars on a by. Just figure ahead of script. Back on. Okay. Once you put it back to give with water in it, you can then take the cap off and it's got a little brush on the end there. If you squeeze the well, mawr water comes through. If you don't squares the well, only a little bit of water comes through. And so we can use that dipping it into our pints and then using is airbrush on our surface and getting varying degrees of water coming through. The more water you have coming through, of course, Thuh, Fanta, the pigments going to bay and therefore the lighter value. It will be okay, so these are really great. I love painting with these, and I highly recommend this one sliced in a tip than that. One. Highly recommend that you grab yourself a couple of these off of eBay or you're like a lot supplies store. Do a lot of my pen and wash panting with self up those back. I've got a couple of pencils, but for the purposes of this course, this one's like a gray light gray lead, rather that when I haven't even used, I've got another pencil box at another pencils. And usually I used to bait or six bay pencil a lotta pencil. But the purpose of this course, we're probably not going to do any pencil drawing. We wanted master concentrate on ink, and it's looking at brushes. I've got a couple of those Ram brushes. There's a Cotman Windsor, and Newton doesn't really matter on the brand sons go. Nice soft tip case. I got a small andan ultra small that okay for little detail lines and so on. So we'll be using those. I've got a slightly bigger one and I use this one. He for washes. So it's got a bigger mop head on it and I use that from Washington. Big areas like the sky. I don't start scrubbing, You know, if you push your finger against the hairs and I've been the map great for scrubbing in foliage and clouds in the sky, things like that, it's a good little brush, that one. And then I've got a smaller version of that one, which I used that one a lot to be honest on, but I've got a you know, I'm not even sure what that would be in the equivalent of larger watercolor brushes. That's kind of a mop brush kind of a right brush, but that's not really. But it'll says that the number 10 number 10 water down exactly not but a good brush. If you do something slightly bigger and you know in a 50 brush between those that's pretty much all we're going to use that in the field in pen and wash so ink and wash your pen in ink Wash type panning Any detail work you're gonna do in the ink you're not going to do in the watercolor. We're just gonna use watercolor justo washing some different tones and colors. Just a compliment. The that would put down so sketching on the ability about a sketch is obviously an important part off pen and ink wash type artwork that we do. So they had a materials I'm going to use. We're gonna have brushes here. We're gonna have water. Keller brushes with Wells, and we got Eric pens with those an hour sketchbook. We're pretty well set to go. Eso in the next section will look up sketching and just doing a few examples sketches with our in pens. It's important to get a handle on that. They were looking doing some water. Kala washes in the section after that, and then we'll go out in the field and get get stuck into some painting 5. Sketchbooks & Paper: Okay, let's start off in this section looking at the material we're gonna need. Gonna start out by looking at the different sketchbooks and journals that you might take with you. Add in the field The whole idea of pen and wash water callup is to create sketchbooks and just document your travels and your journeys and so on. Collect reference material for larger studio paintings. So we'll look at a couple different types of journals on watercolor papers and things that you can use. And then the next video, we'll look at the different materials like you brushes your pants and your palettes. So what I have here is a sketchbook. Now this is one that's designed really for pencil sketching. And what's important here is the weight of paper because we're using water. Keller. You need to have the right paperweight to really be outta. Do wet washes on wedding toe wet with water. Kill up, however, with pen and wash sketches. You don't always need to use that much water, so this is a sketchbook are like it's got a nice hardcover. It's great detective around with. You can throw it in a backpack and as a traveling journal and sketchbook died. Deal. But it is only what is it, he 110 jeers in So the papers. Not that thick. To put that into context. Photocopier paper is about 80 GSM, so it's not much. Stick it in a photocopy of paper. However, you can still get some nice pen and wash affects with it. So you can see here. I've just done a capital little really quick sketches, Little White House, and you can see the pen working their way into the cliff in the water here, and I put some nice washes over the top of that. Pins are not moody sky, some docks in the lot house and the cliff. I see. And that was a with a really lot washed. Not a lot of water in there. Simon Differ car still Hedlund here. There's no a lot of water being used in the washes applied to that. So if you're using it for that effect, then you know 110 GSM is perfect. However, when you start to play around with weather washes like I've done here, 110 juice him is maybe not quite thick enough. So I've got a lot of water in these washes. I was trying to achieve a wet, on wet type of effect and get some moody atmospherics skies and get some blurring the edges between the land and the sky. And to do that anymore. Water. And as you can see on this side of the of the journal here, it's sort of the pipe the water colors bled through under the back of the paper. It hasn't affected that side, but it doesn't look that appealing, and I like it. If you want to build up the generals over time, it's nice to keep them as a reference, and it's good to better get back over them. So I try and avoid getting run on Was like that. I think he was not a bad I. And then you can see here. This is again a lot of wash a lot of ink in this one. Same. The palm tree here got lots of ink on a very lot washes, and it works fine for that type of thing. Ideal for the during, you know, really quick sketches out in the field and gathering reference mature. You can see here this one a little bit. So I have a favorite of water in there. So using less water and you don't care about the wet on wet type of effect, then this type of journal 110 GSM will work perfectly fine for you. Let me show you number one that I just recently purchased. So this is another sketching journal and probably the 10 years for most of this course, this one, our life because of the GSM of the paper and the GSM just refers to the white of the paper . It's 150 side, a little bit heavier and thicker than the other jerk. And you can see there are just a little bit of a practice sketching exercise down by the river. Couple of guys fishing a couple of guys in a boat and song and just within cologne Perfect . You know, it works really well, you could use pencil on this great lead pencil, but I'm pretty confident that when we put down some light washes on this and I use it to move around from location, location, this is going to be a nice little journal for us 150 GSM. So give that one a try as well, then Some of the other options that you have is picked up these watercolor journals. Now these were from the Royal Watercolor Society in London, so they won't shoot. However, the paper here is 300 GSM. So this is really water callus quality paper in a professional watercolor calling papers very thick. You can sink. Somebody's tortured off a larger shape they and put this together, and it's got a nice rough surface. Now I like a rough surface for doing big watercolor paintings. We've been big, broad washes. Eso. If you like that style, then this is not a bad option. It is more expensive. And when you're just starting out, the options we talked about earlier. Maybe a better fit for you, I suspect. But when you progress and develop your confidence, they finding something with a heavier GSM like this I think, would be definitely worth well, gradual pocket size one here a second bought it some years ago, have been too scared to use it. But we'll take that and we'll start using that and I've got a larger version of it here. Both these males in the UK and I started playing around doing some pen and wash back then, so that was back in 09 And such interesting to keep journals just as a reference to see how you progressed over time and how your stalls develop. My stalls definitely developed a lot, and my understanding of painting is definitely developed a lot since then, but there's no hospital reference of sitting in Sen. I've by up around the shops in the village there in synods, and you know, this is a really nacelle journal because probably tell Piper the last alternative is to buy what's called a water kala pad. So it comes on a block mountain. You 10 the shapes off and you end up with a sheet of water. Calif paper like So you get to me. Different sizes are like this little sort of compact size. And for what we'll be doing in in this program, this is a really nice little size, for for the sketches will be doing the pen abortion sketches so you can tear them off the pad on. Then we'll masking, tape them down to a board and then we can do those use this for back in the studio. So we use a journal form. We go out on site and will use this little Are you ready? Made watercolors sheets in the studio s so we don't have to prepare some people. We just type that dando aboard. So they different options, I think for starting out. What I'd recommend is one of these two journals. Okay, so our sketch walking 110 gs in, which is ideal for if you want to. Some granted sketchy as well. But my preference would be this sketching journal of 150 GSM. So if you could find one of those, all the better. If not used the 1 10 Jesus. Um and they don't give you a nice journal to stop building up your sketches in. As we progress through this course in the next video, we'll have a look at the pints. The brushes on the pallets that were going to be using through the courts, 6. Basic Sketching: So the first thing we have to consider in getting out pen and wash little sketches in the field, right? Is our ability bad to the sketches? So we're going to a couple of practice sketches and get to understand the qualities of these in pens and had I work on the paper. Now I've got my journal open, which is the 1 10 GSM. Just to show you the type of marks and holding the pencil, you don't wanna hold it. Strangled up really taught the pen. Sorry, you don't get a little bit looser and have ah, fairly loose grip on the pen to get the best of fix. And the idea is just to learn how to make marks with it, you can apply more pressure and get a more solid line. Or you can use a light pressure and get a lighter line on the page there. And as you get good with the pen, you can then start to use it to great effect. Okay? You that for shading and so on. So that one there is, I think it was the the unit ball I pen. Let's have a look at the next one is the outline drawing system 0.4. And if we have a look at the marks with this, you know we can get quite fine. Just really delicate little touches will now bus to get fine lines, and then heavier pressure will give us a thicker line. Using the same pen for that are quite versatile. And then we can start to shade in areas where we might have shadow in song just by using a crosshatch top technique, they noticed I've gone in both directions there to get a Dhaka patch just cited not in because of these pens. Work great for that. And the trick with pen and wash is to know how much shading and detail to do with the pen versus how much to do with the watercolor washings. Now, this one is the very fine. One thing is the unique fine line 10.5. OK, so it has a much fun a line for the cameras. I would pick that up, probably good for doing details. You know that you, ah, might not be to get the same level of detail as you would have a thicker pen. So it's important that you play around with the pens and get to just get a feel with them on. What I'll often do is just draw myself. Ah, little thumb now fiction like that on my page and all just stop playing around with landscapes is in particular is what I like to paint. Soldiers stop bringing some background mountains, run in some foreground trees, maybe some distant trees along there, and work on practicing rule path with from fence posts. Maybe there's a little cottage off in the distance, and I'll just play around, just making up a little subjects like that and then I'll shade in parts of it. Obviously, this trio, when I have that as a doctor element, So just working some shading on that. But you know, the key with this top of sketching is we're not looking to create a masterpiece with this. We're just doing a little quick sketches, recording information down more about our feel off having a impression of the place that were visiting, Um, rather than trying to maybe the shadow there from a tree that out of the frame rather than trying toe sketch a masterpiece, we're really just here looking to gather a bit of information on with that information and maybe some photo reference and so on back in the studio, you can then turn that into a larger, larger work. So play around with different sketches. You might have a little Seascape that you want to do. We'll go down to cool and bitchin. You'll see that the Hedlund there is quite a good feature. There's some four gram rocks, so the foreground works gonna be a Dhaka stock. They're so I'll put in the shadow like I'm doing with the pen, but not completely our lives in space to put a bit of water color tile in there as well. And then, in this Castell Hedlund, he put a little bit of shadowing him where the rocks and things are put in. Some wives level spot for the sand there, and maybe I would declare a cloud or two. So just play around with little sketches like that. Little quick thumbnail sketches just completely have your imagination. That one there's made up from my knowledge of the cool based, but this one is completed night up. If you just play around lots, little sketches and Philip your sketchbook. We've sketches like that, then you will ah soon feel comfortable using the pin and player of different compositions like I put my mountains up higher, these ones down the bottom Third, these ones here I put on the top third trees there. I'll put some distant trees here with some shut up, OK, and then but just fooling around and maybe we got a room that's running through that way. Want to get from rushing water having just by fooling around, credit little sketches out of your imagination and practicing or trying out different compositions and trust shading different areas of composition like I put my shadow area to the distant mountains there. The more you do that, the more capital where you'll feel with using these are little ink pens and quickly your transition into getting ready to get on the field in the next video. What we'll do is I've got some photos of some still life objects on will do some really quick little sketches of those just to prepare ourselves, and then we'll look at water. Cal abortions 7. Sketching A Cube: okay. We played around the last video looking at getting used to our pens and doing some really brief thumbnail sketches. Now, we're gonna look a little still. Life composition, which I have set up in a locked box here. And I'll include the photo reference for you in this course, but basically just got some basic shapes and objects on. This is really about training your eye on. Have to see objects before you can draw them and paint them. And so what I've got first of all is a cube. And if I just draw a frame first, Okay, just give us a little frying to work with. And I often will do this when I go out in the field to doing pen and wash sketches draw little frame like So Now, don't worry about accuracy. And so on were just trying to capture an impression. So if you do have some lines that are a bit wonky, perfectly fine, I'm gonna recommend that you that that's what you do now on this cube, we have one a vertical line, like so, and it runs up in the base at an angle like that. And so we're gonna replicating or a matching vertical line gonna run out Now, the important thing is whatever angle that bottom lines on is what the top line needs to be on. So if you try and match that up like so then you will improve your ability. Better get the Q brought from stop, Okay? And then we're gonna have another vertical line, OK? It's not going to be the same width there it's going to just because of the angle. I took the photo. One. It's going to run that way. And again, whatever angle that line is on is what you want that long to be on. That got a match. Don't worry a little bit at the first time you do this or even the first dozen times that line there. Same angles there. I mean, I've done a lot to cube paintings and drawings. That's a great exercise to do, and you don't always get them 100% accurate, in fact, really get the 100% accurate. Now running through the Cube is a line in the lockbox runs through the rent about there, and we've got different times here. If we're doing a pining we would paint this base a different tone. To what? We're gonna paint the back wall for the purpose of this sketch. We won't worry about any of that. I guess I did. The light sources causing it to this point here comes out past that point there because there's a little better observation. And then it comes to a point which is above that point there. And then this one here comes out there and it runs right about that. Almost looks kinda rounded at this point here. The shutter on these edges here, but no, the edge of that, the back are a little bit sharper. Okay, But certainly that point and this point can look a little bit rounded. So I would have put that shadow in and I'll just lot. We showed that that has crosshatched that just by running back the other way. And that gives us a little bit of shutter, their little bit message there. That's OK. And in the darkest faces, this one here, it's not a lot darker than the cash. Jealous. This is the what they call the core shit are much of right that in there is there Course shadow. And this one here is L cash era in our course on lot shadow inform We got into cash it on course shadow in a lot more detail. So this is that, Dr. Stocky, that line there probably needs to run a little bit. Well, that Weibo can always fix that up on that one. Probably running a bit sure that. Okay, so this course shadow here, we weren't just slightly DACA, but again because we're doing this is a sketch. That's just a quick little sketch. I'm not gonna fuss. We had all I wanna do. Really? My objective here. This sketch. It's just to show this cube of a three dimensional object. So you can say that I might. This I see a little bit darker than the cash, edda, just by doing, you know, three different directions with the pen, and then they next. Such that doctors, Doc, we can have a lot of slots. This surface over here, that's where the lot is. We got lots source coming from there, so there's a lot source coming in there lighting at the top. But my stay on this side here, So that means that this surface on here is the next will be a mid time by some skill showed that in, but not as nowhere near is as Doc as they used to here. So that gives the sale a lot of flight midtown. So I put mid turn there, and our doctors stock their cash. Edye falls between these two values here on defect, probably a cash shadow. If if you really get observant, it's doctor ever this Saad Okay? And it gets not quite so doctors that news around the form because it's probably more like coming in from that end. So what I'll do is I'll just darken it up there. And what that gives us is a lost edge along this bottom, and lost EJ is a really important in any form of painting or drawing. It's something I hadn't planned to get into in this course, but just know that when you have two different surfaces off the same value, it gives you an opportunity, will lose the edge, crafted a mystery and intrigue in a in a painting or a drawing that draws the eye in. So there's our basic Cuba to pretty easy exercise to do. Don't try and get a perfect Just try and get the overall shape and try get a sense of being three dimensional by using the shadowing that we've just shown you. And that's where we want to get to at this point. Because if you can create that sort of sense of form on the paper here in the studio, when we go out on site, it'll be so much easier for you to be an observed where the shadows meet times and lots of and to be other than replicate that in the sketches that you do. 8. Sketching A Ball: OK, now let's look at our next object that we going to try sketching from the still life collection. This one is a circle of speed, so again, a little bit challenging to draw a perfectly round sphere or circles, said, I stress, if you don't get 100% accurate, three important is more to understand the form of it on the effects of light and shadow on this Theus again. So just start off doing a lot touch. I just work your way around. I'm not going to get 100% accurate myself. That's okay as long as we get close enough, because again, this exercise is really about seeing the lot shadow form that gives it that three dimensional look. Now the lot here again is coming from up here, Sam. Lots of us. Which means we need to keep that in mind. The lot is actually hitting around about there on this object. The cash shadow is starting around about there and around about here, and it's going out in a fairly unusual shut. It sort of runs in lock, sir. However, it's a lot of either in this section here, and it's a doctor of the Here's the lot must again becoming just slightly from behind. Um, the objects. Okay, so when we look at this all going my cash should I first? Now, the an interesting thing that the base if I draw in that same line that we had before So that's where the wall starts and this is the base of the object. Sitting on this base is a sort of a tan color. Empty it. And MDF board has got, like, a tan color with light is actually bouncing on their out of the service and then reflecting up into the bottom off the object. And it really shows up on a around surface like this. So I don't want to make you aware that we're not getting going too much detail with that today. We're just gonna do our basic sketch. But the more you're off, I would observe those things. When you look at the father, hopefully you'll see that the better it will make you when you're at sketchy in the field because gonna be sketching from life. Okay, so let's now, look at this. How shallow here. And we'll just sketch that in, and we just get a little bit Lotte in that fiction there, underneath here, though, that's what we wanna have at Dhaka Stock. So it just a little bit harder there. I'm just thinking that up now without, uh, bowl here. We wanted basically work around sort of bands that running the same shape off the balls. So what I'll do is I'll just 50 well established, the adul on of it again. Effect of a little bit. Riva Rahman. I don't really care, not lock again and do quick little sketches out in the field. And if we make a few errors like that, it's not important. What we're doing is going and getting a feel for the place. So leave it a little bit lotta underneath there where that reflected light. He's going to come into play and then we'll come to this next band here. Move. Just get that a little. A lot are again. And then we got this lot area here and what was It was just a really lot up to it, and there we got. Now we've got a representation off this thing's ball, this sphere with, like hitting out impacting on up, and we got a lot. A lot of flight. They're gonna midtown in here. The darkest turn around this section here. And then we've got a cash shadow here. So being out of sketch it to that level is what you need to do to be out of, go out in the field on better Skitch objects in the field with some confidence in what you're doing. 9. Sketch A Cup: Okay, Our third sketches. Just that little bit more complex again. So we'll start at more. You're a little frame for ourselves. What's so And sketching women with independent like this or with a gray lead, it all comes down to practice. The more you practice, the user gets in, the better you'll get at it. So what on highly recommend is just Philip a sketchbook or to just with lots and lots of sketches. And the more you do that, the quicker your progress with your sketching. Okay, so I gotta get a little bit more complex here. This is a a mug you know are drinking. It's not quite a glass that's might have a plastic, but you get what I mean, it's a drinking vessel, okay? And so the first thing to look at is the opening off it and the angle off that opening. So basically what we've got, if I draw a line hard on line there and I said, I'm gonna take that point and that point. Okay, then it's the angle that comes around that Charles into line there. That's what's important. Not just make it a little bit bigger to there. Okay? and then underneath that we have. We're sitting somewhere around about there, so that is again. It looks slightly more complex. Object to draw here. That's okay. And just dips under their little girls like so And then this one, all sorts of tips under a little run Stand about this again. Don't fuss too much if you don't get 100% accurate doing this by FREEHAND and observation. OK, so this he we have a line that runs to run about. Their hand goes around. Then we have one that runs about the and then I get a little bit hot at the sort of read Get into the shed. I there put a slightly water rim. Now with shadow. The Chicago shadow is coming from here, and it's heading out that way to about there on this side of heading out that way toe about there and then on the end. It has this speed talk shut, but it's no perfect steer out. So just get the accurate of the council. Must look at all scream kind, which you wouldn't think if you hadn't seen the photo. But that's the effect of the lot source coming in from here and casting the shadow out through the okay. Now, the other interesting thing about this is this time we have a shadow effect inside the mug . Okay, so let's just get that in first. It does have a hall out of room, so I leave a little bit of lot on that rim. And that little shadow area there is one of our doctors shadow, Where isn't it? Gets a little touch, Lauda. So love. And through their luck, sir. Okay, that's a lot on this side. And then it's dark around that side. So in here, this is I a very lot Should are turning there. Okay? And then it gets favorite Dockery in there. Same. I'm just putting some Just a different shot, a little bit of darkness there. This side is actually getting a little bit reflected lot bouncing off from either. He So just these off on the end. And quite, Doc shut us through. He okay ? And then get fairly. Doc, should I through this part here up until around about there were guys backing a lot just stocking up. They should eyes just in the ring of those little arches, sir. Okay, there's a little drinking glass sketch, which I think you know what, that a reasonable job there. It's not 100% accurate, but it does show the form off the object, and it gives it a sense of three dimensionality, which is what we're hoping to achieve without sketches and washes out in the field. So if you could do something reasonably similar to dies, then you are sit for doing your sketches out in the field. So I'm having got those three exercises and also play around with crowding. Hold a thumbnail exercises in the next section will look at doing our first watercolour washes, and I'll put down a couple of little sketches for us to practice and little Bassett landscapes and Seascapes. And we'll practice doing some basic washes in that section, and after we've done that, will be ready, then go out in the field 10. Colours: OK in this video, we're going to look at the different colors. We need tohave an appellate. We're gonna break them down into a warm colors, cool colors and other. So my basic palette and those of you have done Michaela mix and course for oils and acrylics will be aware of what my basic Pelini's. But I use a very limited palate, and it's all based around the primary colors. So three primary colors of blue, red and yellow, which we will cover as we look at a woman there. Cool. So what I like to do is have a warm version about primary colors and a cruel version. Hence, we've got three squares here which were about to feel him. And then to that. We have some what we call Booster Keller's some additional colors. We you sparingly but can become important at some point during the painting process. But where Master Bath focuses is around these primary colors in the warm and cool versions off H. So what I'm gonna do now, when you when you get a kid like this, it's little travel kit that I showed you the previous video? Um, it kind of a whole range of callous, not necessarily choice colors that we would look for. And so my preference would be to pull, always out and script my campaign there. However, I've left it set up like this just to show you what you can expect if you go and buy a travel kit like this off the shelf in an art supplies store, however, does have a lot of colors that I would like to work with in my prime, A killer. So they're all they're probably just not laid out the wild like so it is important starting out that you have an understanding of your pellet, the different colors involved in it and how to use those colors in the planning process. Even that we're gonna be just doing very basic washers in this course having out of standing a color is still bodily important. Now I've got my little, ah, little flat brush are getting Call it, get some nice soft hairs here. There it is there, and I'm gonna use this just to lay in some Keller and credible chart here so that we know what colors. We're working with a little part of water here. So I just switched my brush around in the water. I don't want too much water in this, so don't you know, don't ever do it with the water. Probably too much there now. So I just switched the water into the into the callus on what I'm using now is ultramarine blue, and that's going to be our warm blue. Okay, sort of for a little sample of that color there. So age of the problem, callous will have a warm and we'll have a cool version. So how warm version is our ultramarine blue crew? Version of blue is the surreal Ian. Okay, that one there are not highly recommend. You make up your on Kellett shot locked. It's in your journal. Now, in terms over, um of our rids, our luzern crimson is a cool writ. Okay, that one there. If you don't have a loser in crimson, then using a magenta would work as well. That's another cruel red that you could use. And then how warm Ready is going to be more of a cadmium. Rid I was going to be that one there. You have got to reds on the palette there. I'm not sure which one's which. But machine me one of those is a cadmium red Doesn't matter. Thereby for warm red versus our cooler, a loser and Keller. Okay, Now, when it comes to the yellows, I use yellow Aka. Okay, So get some yellow Ica, and that's really on the cool side Now I wouldn't say it entirely. A cool Keller, but in comparison with the other yellows that I use, it's definitely a cool yellow in comparison. Somewhere warm yellow is going to be a cadmium yellow medium usually or cadmium yellow A lot, which is that one there. And you could see it quite a bit warmer than the yellow wake up. So they're the primary colors that I use to blues. Two reds to yellows, Ultimate blue, cerulean blue, cadmium red and listen from the North Magenta or permanent crew Crimson Kevin and yellow, Medium and yellow Oka important. You understand that what those medium Sorry that the basic Calif ality is so devoted rot that next to he permission have done this before. I started ultra Marine learn kid me and rid kill me. Yellow uh, mid Kevin Miller comes in mid ah, lot on a doctored version of Well, so this is surreal. Ian Blue, Eliza Rin Crimson on the Yellow Erica Now my basic primary palette that I use all the time if you've seen me and my training programs in acrylics, oil is ultramarine blue. A liver in crimson on the yellow Oka. OK, there, three colors. I do 90% of my painting with, and I use the other colors just as a booster to that. So that's what you want to focus on notice. I've got one warm blue and to cool the You know, the losing comes in the ally Grebeck on the cool side, but what's interesting is that the ultramarine blue is out of print. He has, ah, fair degree of transparency to it, and so does the Eliza in crimson. So when you mix ties to give, you get a doc that's quite transparent. That's important in watercolor enough so much in acrylics and oils, and it is important, and it is helpful now. But in watercolor, especially because having Anel amount of transparency when we put at Doc's Dan what that means, we could do some lot of washes initially, mix up a dock using names to callus ultramarine blue and losing crimson like that over the pen inch and a lot of washes. And the pen ink and a lot of washable stool come through will shine through the dark that we lie over the top of that. So it gets a nice liar ing affecting watercolor, just being aware off the transparent value of that dark so we could mix there. Okay, now let's look at just some of the other callus here that we have, because you'll notice that the palate he comes lard it up with a range of different options . From the best way to describe the brush. Clint, we have he This is a purple is a manufactured purple. It's probably Equinox iodine or something like that. Let's grab some of that there. It's like that with a pellet a little bit. So I popped out there. Okay, that's a purple, and it looks fairly transparent to make. It's probably just a mix of ultra Marine Eliza and Crimson Sigh. When I got by pain, I'm not gonna buy purple. I'm just gonna mix those two, but how of it in a travel kit, it does come with it. And when you're out sketchy on like Asian. It is probably pretty handed and not have to make certain values all the time. I'm so probably no, you know, for him a bad color heaven in your next. Now, if you know anything about grain colors back, if you're working with the yellow and it's just a little bit too vibrant and you want Tony back, grab back a little bit. You could just dip into the deep purple, which is the other two primary colors, and that will help reduce the saturation off the yellows. Okay, so having a purple in there is probably a bad idea. From that point of view. Next color will look at Here is what our suspect is. Burnt Sienna. Nice, earthy Keller again, Fairly transparent. Okay, so good for doing for the landscape paintings and things like that, but also doing rustic old buildings straight seems, then burnt. Sienna will be a a handy color have on the pellet again. I probably wouldn't botch, you know, I probably be more inclined to use yellow I colonels and crimson toe enough of a similar sort of value there, however, good to have it on the pellet this one. He looks like a burn number. It's just getting that Such a North doc brand. Yes, I'm saying my seven that they took their number just a little carried away with my watch. There's just that just doesn't run. Sure. Such a burn number. Then we got two different greens. So one of these is gonna be a Sepp green, which is a sort of an earthy top of green. It's gonna be that one. Yep. And the other one is gonna be problem or turquoise yachts say, Let's have a look. Well, maybe got that's running away is a locket. Emerald grain. You got more turquoise E there. So there's an additional colors is also watch on this pellet. Uh, generally, I wouldn't use a watch and a lot of water. Colorado's don't like to use what What they do is leave a little highlight space if they can. But having a white there to do little highlights, maybe not a bad idea. So it's pretty. He would just cause a purple, but I know the exact purple that it is, but the purple burnt sienna but number course the CEP grain, But it may be a Meridian, perhaps? Well, yeah, It's gonna be one of those sub grain, and this looks like a corden emerald green. So that is our little palate that we are going to be working with. And it's handy to get a grip of that. I understand. What color do you have in the paella here on. And once you get a feel for that, then you'll know which colors to dip into at the right time to complete some of the projects that we're going to do and when you're doing your own projects as well. 11. Simple Colour Wheel: OK in this video, we're going to look at a very simple kala wheel, and we'll just explain some of the concepts behind the color wheels. This is not a full color wheel. This is just a really basic understanding to help you on your way. We've understanding how to mix Keller's and so long so our basic color wheel is made up off . Our three primaries are gonna pay for probably your primary primary, and probably and then when you mix to promise together you get a secondary Keller on. We'll work our way around the wheel to understand the properties of the secondary. Calluses. Well, so our first step is to understand what are our primary colors now? We did go through a kala palette in a previous video, and I explained you that difference during the cools and the warms. So the color wheel I'm going to do here, I'm gonna based primarily on the warm side, and I'd recommend that you do yourself a warm color wheel and then do the same thing in the cool colors. Okay, so for now we that's what we'll do is just the warm one, just to give you the idea. So I'll take some of the blue Can I have some fresh pigment and mild Tremaine blue says are warm blue will take that. And we'll put that at the top of the color wheel there. That used to much water. You can see I've got a favorite water in there, but we don't need that much for this purposes. Example. Okay, so there's that one blue. Now we want to take it al Warm yellow, which is that kept me meal on medium here. We're just on the brushing of the top of that, OK, Probably yellow ever. This side got a little bit dirty on the palate. David. That's okay. Give the idea. And you know what colors? What? Warm your life and we're taking out warm red. Which machine? Me, the cadmium red. It could be a scalloped red. That's certainly not the Eliza in warm agenda that there are cooler heads. So there's 1/3 army. Okay, so how do we get to our secondaries? Well, our secondaries come as a mixture of the two primaries on either side of it. So if we mix the blue and the red together, then we're going to end up with a purple, which will be out off warm purple, which will be our secondary color there. So let me just take a little bit more of this blew up into the mixing area. More Texan it is rid I'm excise to to give. It's gonna get a little bit day too much in the red side. More blue now because I'm not claim a pallet, no claim of brush. My Keller's are growing off a little bit. There knows pure is what that baby was very particular, the way I paint on, not overly particular side. That's why I'm gonna demonstrate two years of hell I paint if you wish to b'more chicken over back cleaning brushes and so on, then you know you get a cleaner Keller, and that's perfectly fine as well. There's no right or wrong, and not just whatever suits you such a movie. It has gone a little bit to the grace side, so I just get a little bit more Clint color there exit a dark purple e gray. So there's a good indication on how do you mix upgrades getting rid of that splotched next one years out blue and yellow and that's going toe back up a green, obviously so clean the brush for that and will take some more fresh blue. And they will make sense to mix it up into our green area there, and then I'll take some more kept me meal. It doesn't come out that easily, but we make size to to give up now, depending whoever got more blue or more yellow will determine whether it is a bluey version or a yellowy version. Okay, and that's going to sit just in their life. It's around about halfway mark trying to forward to get that as a Dhaka um version. I'd add more blue in, and that would give us then 1/3 step, which would be a tertiary color, which would be more of a blue green. Okay, let's start with that point at more blue. You want to get the other y and get a mixed, and he then you would add, well, sorry in here would they would have more yellow. It should give you a yellowy green, and as you point you will, you will find uses for these different into media re colors. In fact, you'll stop thinking about Kela as being, You know, they have primary and secondary Keller's. Once he moved beyond thinking about that, you started transition. You're pining. So that's something for an advanced class, though, and in the class were just give you an introduction. So take some red and will take some yellow. And I'm hoping you'll already know that that's going to make up. A orangutan can again dipping, and we've got more yellow arm or ready in there more determined exactly what that tiny is. But there's L orange. So this is our simple color wheel using warm, callous and after a primary warm soldiers. Right. There's Dennis's ultra Marine blue Kevin in red, and this one's kept me a Miele, so I haven't got doing that one. And then when you've completed the warm color wheel, just make you know that they're warm. When you've completed this one, do exactly the same thing, using your cool colors and refer back to our previous video to remind yourself of what those cool color were. And by the time you've done that a few times, you'll start to get used to mixing the colors and put itself in a good position to got to go out and start actually doing washes in the field 12. Values: Okay, The next thing we need to look at his values and establishing a values Patton with the different colors we're gonna be using on a pallet. So what do an exercise he just using the ultra marine blue. I would suggest that you then carry that damn well, at least the three warm and three cool primary colors on your palate. But for the purpose of this excitable demonstrate with one again, I'm gonna use this little, uh, well, flat brush here, Um, a little bit of water. Now, the trick with watercolor is how much water you use with the pigment. So I was going to take some of that and put the ultramarine blue that little, uh well, okay. And that doesn't have a lot of water with it. So what? I don't just pop that into our first values position. They're such a darkest version off that particular pigment, which is the ultra in blue. Now, if I dip my brush into the water and add just a little touch of water that mix that around now we've got very that's no strong can. Now that that's to lot, that probably should be coming down somewhere. around about this. So what I need to do is just get some mawr off that pigment, okay? More water than the first time. And I'll just strengthen that a little bit. So I want to. Just wants to be slightly lighter than the first version. Don't worry about this squares and getting out 100% accurate. That's not the purpose what we're doing here. And besides, with pen and ink washed up sketching as she looks better when it guys outside of the lines often next day, you damn cannot quite like again. So I try and get some more people in into that, and this is our mid time. Okay, so just put that in there. Don't want to be his doctors that, but it wants to be a little bit Lotte. It is very he Now, this is probably a little tough, strong, deep into a little bit of water here. And I'll just see if I can just pull some of that, add a little, Okay, spread that air. And so that's a lot net off. And then, with whatever is left on the brush, all just tinge that last square there. Okay, that gives a little values scale there, and this is an important part. That's all my watch, just a little hint to the blue. That painting with, though, is an important part of any former pain. Doesn't matter what media were using. Acrylics, oils, watercolor, pencil. It really doesn't matter. And we did the exercise in the other video of the little cubes I just draw out of Cuba for us and we'll give it a little bit of We used values to give it a bit of form, and we just assume that the shadow of coming from there, which means l lots coming from over there So they liked coming from over there. This is going to be a lot of slight. There's gonna be a darkest surface here, and this one he will be a midtown, and we'll have that DACA surface down there. So best thing to do to tackle that is to then cycle stuff about Dr Stocks. Now, usually watercolor. We started with a lot wash, and then we build up at Dock Lions. But for this example, we'll just go with the doc. Was she? And I'll just bring in the shadow again. I'm not worried too much. About 100% accuracy. Does lawns. I think it is a nice stock. Very there. Now, add a little bit of water, a little touch more. Mix that around and this is going to be a mid very here We don't want as dark. OK, too much water on the brush. Sort of pull some at. If I cook the edge. Is there a market? A little, a little bit of blading, which should be good. That's too light that's around. But what? I want the surface that. So if you have a blue block, it's gonna have the mid value Is gonna be a little bit document that I just work a little bit of pretend they're a little bit more water here now and we'll do that top surface. Now just try not to clip into the eyes of a So this is I have. But I draw the brush off in order to pull some of that painting out there. Will that water really? There we go. So now I've got a Knauss a lot Tinto blue on the top. Pull a little bit of the water out of there to stop that from blading through Could a midtown on that side. And if I wanted to, you could come in here now, just with some dark appeasement and really get this course shadow he norcen dark. And so now, cause a little bit of bleeding on now, that mind a little bit just to keep it in awesome night. Now, you can probably tell those two surfaces now a little bit too close to give her in value. And this is what good Alice do They judge values they compare, and they just in order to create, you know, realistic looking pangs that have got depth and dimension. So add in a little bit more pigment, not too much. And that's probably around about rot there such various. And that's how we used watercolor Teoh, you establish our values pattern. Could have value scale here. Mawr pigment, less water. Can we add a bit of water? We add a bit of water, we have more water and then got almost pure water of just a tint. And then we use the same principle that we used to draw that cube, you know, sketching pattern. But Governor Dr. Stock, This one here. Okay, with Mentone on this surface, which is probably the middle value. There were a lot of value, which is somewhere around there on a cash shadow is also up in the dock values as well. Have you got that exercise? I think it's really important to help you become a good pilot on especially water cal. I'd probably even more important with watercolor to bell. Learn to control the amount of water you have in the mix, more so than saying acrylics or or oils where you might be changing the values by adding white. We don't do that more color. We changed the values by adding water you need down instead how to control the water. Having got that exercise, I think you'll find the fun one. And what I would also recommend is that you do each off your warm and cool, probably close in a chart like that so you'd have six of them running down the page. They're on band. Just get really good and comfortable with credit. Different values out of your pigments, using the water 13. Simple Washes: Okay, Well, in this video, we're going to look at the two little images sketches we did earlier. I've just redone. He would go out, steer the bowl without lot here, source of light coming in from that side. And they could act cute here. And I've shared you know, I've shared the quite heavily because I want the shading to come through the Washington put it on. What we can do is just gonna put in the wash over these too little images here and just to show you how you can start to shade and put washer view of docks and things in to your sketches. So what do I do? It was going to get this ultra marine blue in here, starting to run out and mixing it in with a little bit of a loser in crimson. Just to get a doc as much as we can, A hospital docked there with the ultramarine blue and listen, crimson, my go to way of forming a doc. And then what we'll do is we'll just run that on darkness side here and in the cash shadow area. And I'm not gonna do that neatly perfectly. I want to have a sketchy feel to it. Out of the same here with the, uh, steel is presented his lower pot viola and the cow shed aware. Okay. And then I'll just driver brush off, get a little bit of blue all the time. We just mix it into another part here. I want a really lot mix this bloody so quite a bit of water. And what I want to do is just push some of that, even for me, the background. So I wanted to be there, but I want to told the night that background not as I'm just scrubbing it round, but one of the techniques that I showed you for putting you Now, sky not just give a bit of a friend to that if you want just clipping the edge of that shelter when we might get some nice blading a fixing that depending on how quickly it draws a sign with the other at a little bit of cerulean blue in to the cube here. So that was just running it round the edges fist. Okay. By doing some helping prep that three dimensional form a little bit of blading happening. NASA will encourage that a little bit. Not too much. Okay, so I give this little frying there for us. Cube. And now let's go back into this mix here, take a little bit more blue into that. I don't want to just run that along the top. It needs to be. It's a little bit talking in the background, which it is, but not as dark as the first show that we put on with this fear. I'll just run that up drama. Brush off a little on dumb, just prevent it from getting too carried away at this stage, and what I'll do is out of touch those edges together. It could perhaps be a touch doctor in that pop there. By doing so, we create ourselves a hospital three dimensional shape with dives to shuts using our wash. It was dark out wash in the corn cachoeira that mid value we're going, add more water and not make it is strong. And then we've got a little highlight section mawr highlight on the Q than there is on the spear, and it would get more complicated. There be reflected light bouncing back up in, too, but we want trouble ourselves with that. At this stage, I think we've achieved a nice little effect there, some good little sketches with some bicycle washers in just to accentuate the docks. So it's worth having a practice of that and getting a feel for doing that and this nice light Washington background just to take away the white paper and give it a sense of place . So they're good little exercises. Have a guard those, and then we'll see you in the next video. 14. Landscape Painting Principles: Okay, well, welcome to the landscape section of this course we're gonna do in this section. You look at some basic landscape painting. Concepts are talking through some of the principles of crowding a good landscape. And after we've done that, we will then do some exercises in doing pan and washed landscapes will start off with something simple, and then we'll progress to something a little bit more challenging in two or three different exercises that will do so. First of all, whenever we look at a landscape, we have to understand the principles of good landscape paintings. Let me just walk through some of these concepts with you so that you can improve your quality of your landscape pining, sort of threat landscape principles there. And if I drop a landscape frame, Okay, the first thing we have to understand is that when we do a pining, we're trying to capture a three dimensional world. So if you think of being, you know something to that effect, like so is what we're doing. But we're only working on this front two dimensional surface. So what we need to do is to use certain principles to create the illusion off three dimensions but capture that on two dimensional surface. So if we're planning landscaping we're looking at in nature, then it has three dimensions to it and with saying it in three days. However, when we try and captured in a photo and then bringing home the studio, we lose that depth that's naturally in a landscape. So what we need to do is use a couple of different principles that will help us Teoh create that illusion. So all good landscape painting on some level is an illusion. Okay, so the first thing is, we have a horizon line, so we're gonna put a horizon line running somewhere through they never want your horizon line to bay on the halfway mark, and you never want to place an object halfway in the picture, e that you always have to have it to one side or the other of the halfway Mac and have your horizon line below half or above half. Most common in in last get painting is to have the horizon lawn below the halfway mark around about the third mark. I've drawn that just a little bit too high, but that's perfectly fine. On what we'll do is all during a raid. Drawer it here like so. And then I'll turn that other line into a row of mountains. So let's just put in some a little role Mountains there. What might come true? Jagged Because they're off in the distance like, um, a little bit more rounded. Okay, there's little rural mountains there, and we're gonna have three different key areas that we're gonna look at were actually four . We're gonna have a distance, which is going to be anything in here that we have a middle distance and then we have our foreground. So let me just make a note of that great distance, middle distance and therefore ground. But we also have a another era ridges, the sky. Okay, so the sky is a little bit tricky, fellow people, because that I see the depth in the sky. So if you imagine that when we look up, I have ahead. We're saying this point here, okay, for the sake of argument. But when we look to the horizon, what we're seeing in the sky is off in the distance because the earth has a unnatural act to it. Inside the horizon is always further away from what we're painting above our heads. Therefore, we have to have a shift in value. So let's talk about the things that make the difference in credit death. You've got values. OK, that's Doc. A lot, lot to dock, and we looked it out. Value sky. Let me just remind you of a value scowl, which we did in the previous the Okay, Doc. Through a lot. That's a value Scout values become important in pining landscapes. Okay, so I had values. Then we have temperature. Okay. I'm gonna get used to some of the concepts. Not all of them. For effective landscape pain on. We can look at some of the others and maybe an advanced version, this course, but temperature is going to be warm. Cool. Cool. One. Now it's pretty obvious. One of warm temperature is gonna be our reds, our oranges and yellows. Therefore, a cool is gonna be a blues and greens and our modes, so just keep that in my temperature plays a big part, ineffective landscape painting as well. Then we have, um I saw the object, so I live in a stray, as he probably guessed If I paint a country that sitting somewhere around about the middle distance in terms of its location. OK, so they have a rough for the country. It's gonna have a certain size and looks like that light is coming from. Maybe here have a lot sort of door is important to keep your light source in mind with any landscape or Seascape style painting. So it's going to cast a shadow that's going to sit there. OK, that's in the middle distance. Now if I was to point that same gum tree in the foreground, okay, it's going to they significantly bigger. So you need to keep that in mind. The location and the size of the object is going to help the I the viewer understand A since the depth throughout two different gun truths, different sauces. But also note where the anchored into, um, the fueled or the plane, you know, is it in the foreground or the middle distance or in the distance? I along this road mountains here, we're going to have other gum truth, and they're going to bay quite a bit smaller in comparison. Okay, so keep that in mind. Now, I'm gonna put a number shadow here from a tree that outside that frame of reference, it was a good idea big. Should I casting through that for a couple of reasons? So let's talk about values. Darkness, tow lot in Lanschot pining, um, it always guys lache through the dock. So as we progress forward from the distance to the middle distance, the foreground objects get doc out. So we use in terms of out watercolor wash is we're going to use less water, more pigment with darker times to get the values right. Whereas in the distance, we're gonna use more water, which will reduce the value as we talked about in the previous video in the washes in the distance. And just by doing that align, we're gonna start to credit sense of depth in the pine temperature wise, warmer colors come forward, okay, and cooler colors go back into the distance. So therefore, we're going to have our blues in the background in the sky and in the distant mountains, warm colors like our reds and yellows. I'm gonna feature too much in this back distant field or in the sky. Now, you know, that's not a hard and fast rule because we might have a sky that has lot reflecting off clouds, you know, as the sun sets. So there's gonna be some yellow on, but not in the sky, but predominance of Cala Temperature Waas. We wanna have that forward. Okay, If we do need to put reds and yellows in the background, we want to try and use those cooler versions and then in the foreground, going to use our warmer versions of the callous. Okay, so cool colors go back, warm colors come forward. And then we've talked about the size of the object, understanding how to place them in proportion to one another. So just with those simple things align, you can immediately start to improve your landscape painting the everything I should point out is the sky is the source of life skies lot. So in terms of value, as Skye has to be the lightest area, the other thing with that is that we have a Grady and they had dark values here. You know, a lot of values there, but overall, that values pattern is gonna be lighter than if we're doing something in the foreground. Here. Let's say we had a little damn here, and it's reflecting. It's reflecting the lot from the sky. The darker value in here is gonna be DACA than one of these in the sky. Okay, skies, a source of all lot. So therefore, it's going to be lighter than all the other objects where the sun hits directly onto a field or a plane of an object like like the earth backing up that directly that's gonna be lighter than the side of a tree. The tree's standing up on on the side like that. The light will hit the top, but it's not. Getting to the sides of readily is with bated hitting names horizontal plans here, so just keep that in mind as well. With those few little simple principles, you can start to point some pretty reasonable landscapes. So let's do that. The next video. We'll apply some of these ladies and just do up a very basic little landscaped to start. You getting the practice in the field for had a divine and sketch out the landscape and then do the washers on it to make it look realistic. So also in the next video 15. Simple Landscape Demos: Okay. Welcome back. Now, in this video, I want to just do a really quick little demonstration of how to use a little brush like this. Just a washing a sky due to different approaches, one will be a you know, not a nice, orderly Neech Grady into the other one will be a little bit mawr loose and random and probably more stall that you might end up doing when you're out in the field. But in either event, we're gonna use the ultramarine blue on get arrival about appeasement. We don't want to ever. You've pure pigment. Um, in most cases, raps I'm mixing it with some water there. And the traditional sort of way to power a blue sky is to run it in bands like so And Teoh just progressively build up a great insight. Had a little bit more water to that and more water. And what that does is it lightens off the value as you progress down can until finally we get to the horizon line there and we don't wanna have a lot of docking that heroism on. Okay, so that I can come in and just smooth that out. Move some pain around for want to And then we'll just let that dry coming and feeling the bottom. That where sort of pulling up here to draw the brush off. And I'll just pull some of that witness, Yeah. Can I just move the pain around so doesn't pull up in any one spot. But what I'm aiming for obviously, is to get that nice Grady in dark at the top, lightning off towards the bottom. You want it to be perfect. OK, that's a big mistake. Is that students? Gaffe of perfection and nature is never quite perfect. But you wanna have at least doctor at the top it in bands of it getting water and Lotte as against towards the horizon and at the horizon. You know, we just wanna have very, like, teach of the blue skies, usual source of light. So we don't want that sky to be to be too, Doc. Now, if you notice that looks like a values progression that we did in Los exercise doctors through a lot of stairs. Okay, Now that's while approach. The other approaches to be a little bit more random with it, because the skies often is random So I just makes up some ultramarine blue again under that brush. But this time I'm gonna scrub it around. Okay? I'm gonna leave a few gaps now. Skies on only blue. They also have to get a little bit more pigment into a few spots. They're docking up a few corners there. Okay, I'm skies. Also, I tend to have a bit of warmth to them, so get some yellow icon into some scars as well. So down the bottom, hero previa warmth. Next and often you'll find baby of Ultimate Eliza Crimson on will be that ultramarine blue . Mix those together. I don't want this to be a very thick your doctor value. So get plenty of water in there to that mix. I'll get a little bit ready to be better. And I'll just run some of that into the garage and push some of it up. Okay, That was a light yellow. And I'll just let that sit in and dry if I tell my board up some of to get around a merge. But I think we'll just leave that like So I got this nice random effect could dry off my brush end. You know, a couple of spots here could just move that water around que I want to keep that. What? Who's got that North's wispy, cloudy sort of edge to it? Yeah, clad, sort of forming in nature if when he's a little bit wet, sort of with the dry brush holders. Tepes, another dad. So from that out through there, we have a north moody sky with yellows and cloudy sort of atmosphere at the bottom. So just to finish these awful just get some a bit of a dark, very not too dark. What's that? Pretty murky. Dark. A lot of grand to that. And, uh, running a bit of a background he'll later on. Just warm up, foreground. One of it just dark enough. That bottom corner there a little bit of a hillside. Do something similar. This one. We got a little bit warmer, foreground. Got a little bit cool up in the back. You know, I'm just mixing pine, failing intuitively here. I'm not really thinking about it. I'm just trying to get, you know, Blue a gray Justin. He'll laugh similarly, there. Just pull some of that water out so that it's a lot if it and then I'll just put them in the shadow time into the bottom. Here. Just credit. Does Doc in that bottom? So you got two different sort of moves, Um, with your skies. And the purpose is not to fight the hills dip, recognizing to give it a bit of context. But what we want to focus on here is two different approaches. And during this guy's got the nice controlled bands back in form of a great agent or you've got more of a random effect where we're just pushing pain around in order to credit mood and atmosphere. This is more hit. And miss, um, you might need to practice it mawr to get just the right look and feel that you're after. But when you get it right, it really works. Whereas this safety practices a few times, it should be at a generated radiant sky like that pretty easily and pretty consistently. When there's Dr. I could take a smaller brush like so and coming to some of my docks here, pick up ultramarine blue and this purple here a little bit burnt. See out to it. Give me a nurse, a doctor. There's not a lot of Ah, not a lot of water in there. Okay, As, like a doctor and things come forward or not, Want to use anywhere near as much water in that were just right in a row of trees here. Okay, maybe some bushes and things. They're probably a little bit to doctors had touch water and or just Putin route treason through that from shadows. She was talking about that corner a little, and then at the back there, they're going to be I just run some water that just to let that all believe that the only problem with when it's Dr adding in things like this, you can get harder. Agents just move the brush around just to soften it'll out. Like so and then at the back. I'm just gonna get a slightly blew up. Okay, Just put little rise of trees in there. Looks there to be. I'm just getting a little bit of water, and they're just walking Summit off. Just effected a little distant trees in there. Not just lift a little bit of that as well. You can even use Piper telling us to stop some of that excess. Look So on come back in and green in the field here. Metal drawing awfully gives the North stronger feel on that sub. And if I wanted to play around and really what I'm doing here is just experimenting. Isn't that it's, uh, just matter. Plying Getting a feel fertile. What do you do that easier than medium? Become something darkening up that hill a little bit there and let's go for Maura Green. Punch it up. That's the wrong grain. That's more about pretty doctor, because I had somebody today we get Can we just it just truth in that I have a lot there, couple of the bushes and that pushing some water back up and do it just to fella's a bit heavy. Add from yellow into that. Beginners should be to get enough green grassy perfect, and I'll bring it up with his son The time that I put in before, I think some of it up into the trees and it's starting tight shut. Okay, now I do anymore, because really, I want to demonstrate the skies there to two good examples of skies. I think it's important that you play around with little ideas like that that will help you get a feel for the medium and had a crate. Different effects We're gonna Grady in sky Nice and Control And we've got a sky where we push the boundaries pushed the on the life a little bit more And both of those were important to try out. So I'm having got those experiment and play around on Get used to using the different colors and and the amount of water that you need when you're doing these top of little projects 16. Landscape Demo 1: Okay, So let's have a look at doing our very first landscape here. We're going to use the very similar, um, designed what we just did Phil put in our horizon line of around about the 1/3 mark, and then I'll just put some rolling hills up. Put this one in front of that one, and then I might run up another one in the distance and maybe 11. Just that one there. Just design your mountain range anyway that you want, TEM, but have a couple different liars in there so they can play around with that. Now, with that, we're gonna have a gum tree sitting in around about this line he saw off put up, you know, some truck, the on Just now, if you're in a different part of the world to May than just make it whatever top tree. Now, if you're in England, Maiken English. Sure. You know that you, the country, a couple of branches don't do it. I don't have a child or anything, and we are going to have l social light coming from here on this. So therefore, we're gonna run out shut up somewhere like, say, such a middle distance sort of gum tree there. We're gonna distant hills. He let's do a larger country, okay? Doing in the clumps of the So it's gonna have shut out there. Just put it a bit of shading here for this trunk. So following a little bit random. But for the purpose of what we're trying, Chief, I think it makes Central. Put it a few more branches and things. Maybe another little tree branch outlook side. And that gives us a really basic, simple little landscape. We might, when I put in some really distant rise trades in that just along the bottom. Okay, probables. And then maybe there's a, uh do we want a path? You are about a part for the first exercise. So very basic little landscaping. It s sky. We got our distant mountains. Couple of lives of those mid ground trees, background trees in the foreground tree and a field area here. Okay, So next job, then, is to put down some washes and then do some detail work of world. Okay, so starting off is going to use this one brush again. Starting off, we will get some of this ultramarine blue mix up there. We have already got a little purple tinge to it. Okay, on. Remember how we establish our values? Previously was Teoh just that more water when we need a lot in it off. So what I'm gonna do here is I think we'll have a bit of gave a bit of an interesting sky, but not too interesting. So I'm just going to scrub the brush around. Don't worry too much about the borders here. You know, we're not going Teoh refine ourselves strictly to that line said that I'm just working to brush around. I'm not afraid. Teoh. Go either the trees. The because you do wanna have some of that sky coming through. But as I get closer to the horizon, writing warmer and then cooler and lot of value at the bottom and add a little bit of the surreal Ian blue. Just a pinch into that on a touch. More water. Okay, just run some of that into the lower part of the sky, Take out some water out of the brush, and I'll just tip some of that. And that's going to end up when that dries. Gonna be a nice little moody atmospherics, guy. That's a nice lot, Scott. It's no thick pigment on there at the moment, which is what we want because it in the distance. Right, Then we've got a mountain ranges here, so I'm gonna come back to our ultramarine blue, get a little bit of water into that, and that's probably going to be the sort of strength we're gonna want. Now, I'm gonna point these blue toe Illustrate a point. Normally, though, I probably wouldn't paint them so boldly blue, um, a lot like the pain of it. More grade off. Now you can see that bleeding up into the sky, which are not really mind on that one. Too much of that sort of do is I'll just clean the brush. She had taken a little rushing. You know, it's a dry brush, and I'll just further that in. But I'll try and pull out the water there to stop it progressing? No, In fact, I will use this brush just to get the other mountains inside the other mountains. Gonna have more depth to them, so add a little bit more water in there. Ongoing. It's obviously gonna be darker than the sky. Otherwise, we'd lose it in the sky, But it's gonna be a lot of in the front. Not too much. Just a subtle little shift. Okay, On in this more distant mountain again, it's very similar to the sky. And I'll use the sun just up in he. Okay, So really nice little feel happening there. Nothing better than being out in the country and driving along and saying that is beautiful Blue heels in the background. Exciting time. So now go back to my flat brush Here. Let's get some feel Keller, I'm gonna start off about yellow ICA carriages. Cruel yellow. Just mix that up in top corner here, and I want to use a reasonable amount of water to this. I know that day. So I'm just going to run that interact. Mind if I click the bottom of the mountains and some of that runs in because what I'm doing , he really have a wash of killer. I'm gonna come back and just putting some details. Not too many, but a few details soon. And as we come down closer to us, I need to warm that turn up. So I'm gonna get in the habit of warming yellow. A little pee in here, The red I'll gather your loser in crimson, Get some want into it, Okay? And we'll just start what that in. But they don't see out to Dr Very by doing that. What it does it creates automatic dipped into the painting that just like radiation. The same way we have a radiation in the sky that we looked at previous exercise heavy ingratiation where it's doctor in the foreground. Lauder in the distance is definitely going to work to your advantage. So just to even further dramatic dramatize that effect, I'm gonna mix up yellow and red mix, And I'm just going to just bring some of that into play you're in there with. We're gonna class area to us. We're gonna be seeing different colors, flowers and bracket and things like that in, uh, in the fields there. That's a hospital wash just to get a started. It's always what I would do with watercolor and because we're doing pen in Washington. Still, watercolor washing sort of principles is do a main blocking type wash like I've just done, let that dry and then come back to it and we'll put it a little bit of detail work after that. So once I get to drive with the head drop, that'll speed things along. Okay, Now, that's reasonably drives. Not fully driving. It's dry enough. Next step is going to be tackled a little distant trees here. So the time next to them is this blue? This one He okay? I'm gonna add in a little bit of a loser. And Cruz, and that's too much. So pick up some of that like so I'm gonna in just a little peen head of yellow. Let's my to go fairly murky. Get backing with that. Now what I wanna do. You wanna take some of that? I just test testing a couple of things at the right time and also is the other point there . Draw enough. Just give, use can. So we just were not pining every life in here, These trays a while. From the distance, we're just crying a little road of distant trays. The illusion off them and with that pen is coming through. Uh, it helps to create the form Fourth. So we're just indicating among there. Okay, Such good anything. The distance There's not have any detail. We're not going to get too much trouble with that. But when we get these bigotries, we're going to start thinking a little bit more detail about so it these bigotries will start off with this blue a little bit more pigment this time I'm gonna get into the yellow aka Cruzan on I'm looking for a brown sort of time. I don't want too much water in the brush. I want to leave the sketch there to do a lot of the work for me. Okay, We'll get into more of I move. Shadow Tone came to pick up that purple it in there with the ultramarine blue medievalism crimson Okay, and I'll just run. That would be a shadow affecting here that have perfect lawns because the shed I was gonna break up. Okay, Look, sir, And then for that foliage gonna use fairly dry. I'm gonna draw brush effect. Probably use just the tips of that brush there as well. To the strains of the eucalyptus. What we're going for. So if I come up here in this corner there ultramarine blue good at yellow Rika, it's going to be something like that. A little touch of losing crimson to grab back a bit more yellow Erica. And the key here is to test, so I don't want too much paint in the brush. But what I want to do is just test, and that's not a bad times a little bit gray, a little bit on the dockside. But I think we'll the purpose is a very simple demonstration. Will run with that. Okay, just Clinton or him, and you can see that there's a feeling and depth starting to automatically develop when I put that canopy on them on that show, automatically starting Teoh get a little bit of a depth feeling for by six Skitch. That's what we're doing. It's working along quite nicely now. Strengthen this pick this time here up, that's a little bit on the purple side. I get a bit more yellow ICA Ah, touch more blue And then let's just running this trunk here. Can. You don't want too much planning that brushing up a little bit too much water off suspect just doing the main trunk. So I've got some other twigs and things in there, but these main trucks branches okay, and I'll get back into that Purple e Should I mix and just run? Met at the picture there. Like so? Okay, the brush off again. Now I'm gonna add in yellow, Ikat, lieser and crimson. He has gone to a warmer tying that get a little bit about blue in that yellow eca crimson. Now what I gotta do? No one passed with this theology that to too much water in there. Want that to be a thicker mix? Less water. Okay, so just tap out some paper tell because we're into the foreground. Here. Now, on way. Want credit? Dr. Betty will be that of the mountains. They like sex. Okay. And what I want to do now is get some warm. Your lies from warm red. How many water? I just want to strengthen up four grand here. It's probably been handed, but I do think it creates a on effective mawr middle side. More four grams sort of strengthen the time or run some of it back just to connect it. Yeah, the back looks. There we go. That's a sort of effect that I was looking for. And if you wanted to, you could let that dry where you could drive with the head, dress up pretty awesome fence past things like that. I think we'll leave it like that. I like it like that. We got a nice combination of the the ink giving it the framework in the form. And then we've got some nice, colorful washers on there that tell a story of a very basic little landscape. But suddenly the landscape that works on one you wanna have a Gallup credit around trees and so on if you look but keep it simple, that's the real key. He keep it simple. But not just what I've done is I've used the principles of landscape painting that we talked about. So I've got value. Have got darker times in the foreground. Middle distance is not as Doc on the now distant through here is lighter in value. But I've also got my warmer times here. Cooler times in the distance. Okay, warm colors come forward. Cool colors pushed back into the distance. And I've got my sky is pretty much my lightest overall value part from these mountains in the distance. Whereas the trees, the big objects in the front the nettles like there, there Dr. Bell you. And because they're upright rather than vertical, they going to be dark. OK, so it's a few little things like that. Now I could look is dry and just putting some other greens and yellows into these truths for a simple bicycle. Last gap to the status I'm not going to bother, but feel free to do that for yourself and let's go little landscape. So we'll do another what, a couple of these and will make them a little bit more complex with each step so that we can start a liar, a power skills that having out that one first before you tackle the next one. 17. Landscape Demo 2: Okay. Welcome to our second landscape sketch that we're going to do now. It's time again to just increase our difficulty just a little bit, making a slightly more complex scene that we're going Teoh pants. So what have drawn a little frame here that I remember to keep this sketchy? I'm not gonna faster back into my lines, right. I think that's part of the fun off pen and wash type sketching and creating a sketch book journal like this. It is just to keep it, Fallon and loosen and not too fast. Too much over it. Now, what I'm going to do here is we've looked at the Cube in previous exercise, so I'm going to start off with a little cube, like so we just do it just roughly there like that. And I'm going to just bring a little risk down ever like that. And from he will just do a little picture. It runs up there, and then we'll run that down and at the back again. I'm giving that quite loose and sketchy. We want to do a little farmhouse. Basically put a little, uh, show me there for the colder months. So good little pitched roof. Little Miranda that comes out there. Maybe a veranda. Postal two or three. Okay to come. That so Not after I put that. You know, the rules of good perspective, perspective and composition. That's our middle point there. Haven't put the center of interest right in the middle of Put it on the 1/3. Mac put it right in the middle on the horizontal plane for around the vertical plan. But I'm not too fussed about that. So it would just put some background mountains in luck. So that's going to be distant trees again. I'm keeping it now. Awesome. Sketchy is what we're going for here. It's probably gonna be a little door after Assad there, maybe window. They're gonna be something. And then if there is well on, there'll be a clump of bushes in that corner and down in that corner there. And why do we put clever bushes there and there to anger into the ground? Now, if I have my lot source coming from the upper right hand side, then we're probably going to have some shadow area through this orders. Makesem lot indications we're gonna block that into heavy. We wanted. Not that there's gonna be some shut eye there, and we're probably going to need something like a gum tree. Whatever area you're in the world, they make it a tree. That is, ah, sort of representative off the area that you're and this tree is going to be docker in value than the distant background. That and then everything I want to do is just create a path. The ones that way around behind this little harm step knows little cottage, okay? And I'll just block it, path out distance there with a little bit of bush and then that way, what we can do This show is coming from here. So that means this side, wherever that side of the path sort of facing us, it's gonna will be in shut eye there. Okay, I'm gonna be sure. There the only Okay. And then there's probably going to be a bit of shadow fully in. There might be a bit in there as well. Okay, this tree now and this is part of the reason why I want to do this is an example, Lanschot. This tree is also going to cast a shadow if the lots coming from that direction. Okay, Well, putting off big shadow, it's only gonna be the trunk because the branches of the colleges tree's gonna be sitting outside off what we do here so that that's fine. And then we'll put in a nice, big ah guy post. They're more. That talk is gonna have shallow. Okay, put that in shadow. Okay? Even though I'm not going to put the well, I'll shut up some of this tree trunk. You just with my pin. I'm doing my civic. Obviously is going to be done in. Should I wash? I could probably put another fence post there. I want just to keep this area open. What I will do. Just pop another one in here. Okay? Run that shut up out there. Like so It's a couple of fin's place. That might be a bit of bob wire or something running through there. And this is taking on the shape of the north Little our little painting there. So again, we're just gonna sketches and we're not going. Teoh, try and paint a masterpiece here. That's not what this course is about. It about just having some fun during a few sketches and laying down some from washes over those sketches. So we'll start off with sky will get out distant background mountains in more blocking, some earth time. We'll keep it often light, and then we'll come back in with some dark times after that stuff, take my little brush it with being using, dip it in some fresh water and we'll get some of that ultra Marine blue. Um, a little dirty, this little mixing well, here's got some dry painting they're so popular is my never claim Appellate is it helps me to automatically great color off, I think callus straight out of the tube for landscape Seascape painting. You've probably just a little bit too two vibrant. And, uh, we get a better result when we, uh, griet back a bit. So leaving the mixing wells a little bit, Danny would paint helps us to do that quite easily, unless you want really fresh pint now just kind of just a lot. They put this in like I try and do anything too dramatic with the, uh, with the skies here today mess because there isn't a lot of sky in this in this particular plan and again I'm not gonna festival going out of the lawns. Give a piece of paper tell he had teach us if I need to wash off my brush, and then we've got our mountains that sit behind here. Okay? So I'm gonna make that a broader blue. Just what I'm doing. I just got some water on the brushy, and I'm just waiting the area where those mountains a going to sit? Because I want to credit. Nice. Clean. A sort of a nice, soft edge version of the mountains. Now, I think I need to get a little bit of crumbs into that. This one here. Mix some of that in. Not too much. Okay. Groups, a little bit of water on their on and I'm using. Why too much water there? Sort of push some of that back off the house. I'm gonna go around the house. Kenya will come through the tree, but I don't want to get too much of that on the house. Not I. Almost pure blue there. Out of work, some of that in you. Okay. Good night. My sky and Hans are a little bit doc, but not to worry. Come back and strengthen up this mountain range. Um Azzawi. Progressing the pain. Now take the blue again. Take mawr. Lutheran crimson Less um, water on the brush were in the mix. We'll get some of the yellow ocher in there. Some things are mixing up a Dhaka time there now with a thick a pigment. It's getting a little bit on the purple side. Just test some of that. And where clips Where touches the witch that I've already got on there from the mountain. We should get some nice soft ages. I don't want that pack to run too much, so I'll keep my eye on it. But whenever you touch a wit, what pint toe windage is always that risk of that pint exploiting now? That Montevideo, that sort of diffusion of it up into the mountains behind it. But I wanted to run out of control. I want to maintain a level of control with that, we got the bigger one here. So what I'll do with the big ones? I'll just mixing burnt Sienna. Some blue. Okay, it's gonna dock in that rod up. A pro would need to come back and docking that again. If you get some nice soft edges and behind the college that I because of the touching off against the other wedges. But you say it's just that little bit darker than the road distant trees that so now coming to some yellow. Okay, we'll mix it up into the grain area here, so get some yellow ECA and some of these broader Kevin Yellow. Okay, so that's already from green NASA. Mix it into some of that, but I get a reasonable about a water on that. It's just work that I have in my path with him. If I can avoid it, maybe even touch it a little bit. That's okay. Try and avoid too much contact with the part of this study. Will have clip it up into the edges of the of that falling. Looking around the gum tree. I'll bring it down to about halfway down there, and what I'll do from there is I'm gonna add in some green to that great great in there. Pick some of that up a little punitive. That's more than a P head road. Lives in crimson, but more of the grain in there. Okay. And more grave. Yeah. You got that's probably been up getting one worker around puffs up to that path there on where the to join us. I will just encourage a little bit of it. Work its way up rather hard line. That was sort of forming there. But riding together just with that little bit of work with diamond could already see some nice things happening. Um oh, Taek, If Ram brush now toe the bigger of the ram brushes, get a warrant. That and let's now using lift water, more pigment in this mix. Okay, Gonna mix up a north stock or get a little bit, but seeing her in that Okay, So the ultramarine blue loser in crimson and Burnt Sienna and the combination of those three your old transparent calls, they should work well together. So now got this nice, doc. And if I run that in, Okay. Just got to be careful. Don't let that believe. Some gonna just drama brush often. Just clean that out. Okay? What That run down through there And this is probably the only time I'm gonna really fuss is just getting detail work in a side of this building. Okay. Put a little bit of that the just the angle of a shed. I running on the dates. The reply. Okay, that's good. And I want that same tone to be my shadow town on the ground. But I don't want it to be quite that six. Just a little little bit more water in that. And it's gonna be quite what he is. Still, so this could be dangerous. Um, however, it might work, and it looks like it's working reasonably well here at the moment. Just good. You see that automatically? Just clip it with my finger just to stop that. Probably per mature and putting this Should I turning now? But just things are just mixed it I just areas to put it. Okay, get a little bit more green here. Now, a little bit of red. Get that Dr Green. So we just got some bushes and he just work some of that into, if something there again, I got a bit of a risk of explosion happening there. So it's the thrill of Ah, what color is it? Getting a wife for me. Okay. Well, I think we're going. Okay. A little bit of color on this path here. Now So take some crimson Texas. This yellow ICA b'more kid orating brought Ella to try and look for an orange. Basically, yeah, so far, just lightly work that into the shadow a little bit there that gives their path. It's a little bit of graded on this. What I'll do, I'll just get a little water on the brush. And hopefully we have better take some of that back further, throw the brush off, pull some of that pain out there we get that's smudging it too much, making a mess. Just Teoh. Okay, You see where I did this doctor treaty before? Told bled up in the mountain. That Mind that because what I can do is just makes up another stronger doc. Okay, Doc Grain. How any water Look, sir, let's just just some of that could that dark in that corner is pretty important. The composition, I think, um, just X is a bit of an anchor in that corner. And with that, I can probably just take a little bit of that and just run that into a few spots. There, a little bit more sugar. Okay, Now Texan, cerulean blue, or pop it in there I'll get a little bit of yellow, aka smoldering crimson Just searching for a Knauss time just to getting this tree trunk looking failure Pike like more pin wash, uh, doesn't really appear to be hiking through that, however. What I think when, uh, when the pint dries, it will definitely shop a bit bowl. What account Lee is. I could just drop in a capital touches thrill Ian here and there and slightly strong appeasement into that section of the path. The and little touches of red, perhaps in the trunk of this tree don't do the branches and things that very easy to do. Then my background mountains Probably not looking quite the whales happy. And I would, um, so just it's going blue dye that with just a little delivering that I've got the ultramarine blue, a little bit sore illion and a hint of delivering crimson in there. Ondo Just talking about that Turn little just to make those mountains stand out a little from the skyline with sky got a little bit darker than I would want. So that play with on Mike Moe Mountains. Just a touch DACA you on there. Okay, now let's get back to our little cottage here, going to go for a red roof. I don't want pure Read those on happily mixing from that dirty orange there. I can't certainly chimney. That gives it a little character. The card say we need a very lot wash. Okay, that's cerulean blue just on this Warren. Here, pull some of that point. Perhaps I just want that to be really lot Andi of North Doc. It's pretty, a couple of pluck. I see that getting a wife for me because I've got what time. So just try and pull some of that we got. We got a nice little landscape. There would use out pretty basic palette of we have done previously. But this little cottage, mostly in shadow, surrounded by nice doc tree in that corner. The light coming from here that's catching on the side. They're casting a little bit of shadow. Get this path wandering off into the towards the hills. There it's a pretty simple little sketch. Now I've gone through and keep that in, cower into areas wet, so I use a little wet on wet technique and hymns. We've gotta love it, has moved his watercolor does. What you could do is just do your basic Kalas in There's a wash first, then let it dry, and then you can control the California easier. But I like the effect of the Calas are merging into each other and getting nice soft edges . Eso If you like that, affect, do it. Why I've done otherwise. Put down some basic washing first and and, you know, let let that dry use ahead draw and then you can come back and lie arrived that with some docks after that fun little exercise, and I haven't got that one and let me know how you go. 18. Moody Sky Landscape: Okay, let's have a look at another landscape here now. Destroyed a little bit of a friend. We'll get for something little bit simple of it may be a bit more drama in the sky. Sort of. Stewart, Roland Hill. Here we might put a little cottage right about there on that through the That's a little veranda at the front. It's got a lovely view out of the belly there. Probably a dairy farm. What? A dairy farm mouth. I assumed that North views across the valley somewhere little chimney. Put a little door there again. Not too much detail Here is just a tiny little little house that we're doing there. And we're going to just do a simple little trees there. Do one slightly doctor in the back, Okay? And we'll do a simple little road trees right about there, and then we'll do I a little driveway that runs out through this. That's a simple little composition, and we'll do something interesting with the sky here, I think, just to shave. So I've got my man part of my rob. The lie out there. He's down on the lower third 2/3 that is going to the sky. So what I want to do here might be just clean that one of my wells. Why should not always this one here just take my flat brush again taking this ultramarine blue and I got into this separate. It'll mixing well, I want a favorite of water in there. Look, so I don't have a bit of a cloud in this one. Something's going, chief. Just push around that blue pipe to get some of that blue sky and look, sir, and then I want to have with that a dark from menacing Ryan Cloud approaches. That's just ultramarine blue. And wisdom comes in mixed up into another part of the sky there. Before I do that, let me just take this ram brush. I'm just going to just wet Piper here, Miss Lowell. Section of the sky. So I'm gonna put that cloud and clipping into the bottom of the pint that I've already put down that blue sky. I'm going to just run that up 2/3 of the way up, like, uh and then we come to this doc, and I'll just put that, you know, push it up into a little bit of the, uh, blue area that now clean my brush, get a little bit of water, and I'll just seem that No, I want it to be two minutes in a storm. But so Justin at the pine is it gets lower there and then in the other corner. What I want to have is a little bit of this yellow ica what you put in here. So we get putting that pigment for the setting sun in the opposite direction. Okay, son. And I'm just going to just make sure plenty of water with that. I don't want that to be too strong. No, no running over those trees because I know I'm going Teoh running to their up into a few spots there. Okay, I know I'm going to be paying out of those trees shortly, so that son lots sitting the western sky there. What I'll do is I'll just lift up this a little bit just to let some of that run. That's the just to get some of that doc to run down a little bit lower here and now I've got outfields here. I'm not gonna do anything too fancy. That's got a grain mixed up here. Let in. Some kept me and me alone to that to keep me feel a lot. A little bit more of the green off the so the medium I noticed. Run that in. That's a lot version of this pan he likened. Always document in a second pass. Okay, But I will dock in it now is I head lower so that more grain and some ultramarine blue in there Now, just a shift the time and down in his corner Oh, counterbalance that, doc. Mix it up again in order for around some of that shadowy Dr out of that corner there. Okay, so what? I'm going to this time. Previously, I didn't let that dry, but I'm gonna just little this dry here now and then I'll come in and I'll just detail up some of the other areas there. So the white man, I get to drive with my trusty head. Dr. You could go and have a cup of tea and come back into the drawing. Mostly concerned with the this area through here. As you can see, I probably was a little bit too close with the hairdryer. Has blind some of the green up into the sky. But you know what, Ashleigh? Mind that I think that's probably not a bad thing. Add a little bit of interest. You know that sky there. So I'm gonna mix up a DACA mix less water, um, ultramarine blues and crimson note taker. A little bit of burnt sienna that mix. So you what? This now to be creamy foot of pigment, Um, rather than a runny one running loose one. But we using the initial wash, and then I'll just come in here and just gently, gently just taps on his docking, get some Knauss edges with this, brush it by pushing it and scrubbing it around. You see that Knauss were all lightened off the cliff Storm cloud at the bottom there. That gives the North sort of backdrop personalized, Doc soon make it a little bit interesting. A few more just there. Okay, I got a little bit more on the blue side here. Now we're just from some of that in three lineup of North atmospheric sort of pining. Here are a few just working that color in their little clump of bushes in the front There, which how much is that a little extra green, too. Never come to a little courage here gets me this blue smolders on crimson A bit of a list of mixed down, a little bit more water to be running out. Get that read that we're using the previous example. Use that for our roof again. You forgot him. Run soldiers, people up Going a little bit of that. Shut up. But that's okay, Peredo. Not a bad thing at all. Really, Richie Me there Completely. Missed a bit there. Camera with a grain dark green. You just knew that color around credits um, Dr Areas over the lot era. But keep that lot area. So a bit of sunshine hitting on there on not come to my smaller little round brushes Time Little, one. And again, I'll just mix up a darker pigment with ultramarine, blues and crimson. And what about CIA? If there's a pinhead of water on that to get that payment to move Okay, that should be a failing thick consistency there. And what I wanna do is just putting a few little fence pass along the horizon there one or two along the path here. Should Justin, that gives us a basic little landscape. It's a pretty simple little landscape in terms of the elements involved, but it has a really nice atmospheric sort of sky. Chose that there's been blue sky top there, that big sort of rolling in storm cloud. Look, the whale appeasement separated them. It's just beautiful. So I started off with really thick Pickman. He but all wet the bottom part, and I just encourage it. Just a drip down on Don't put yellow Worker into this corner for the setting sun. So that is clashes, different elements that the storm coming in and the setting sun credit some nice, different shadows, darker trees and a little cottage is not a bad little landscape pain to try. And one that I definitely recommend that you have a go at and just make up a lot of different little combinations like that for yourself. I haven't got that one on, and also in the next video 19. Reflections: Okay. Welcome back. Now, in this video, what we're gonna do is one more landscape with maybe some water and reflections side. What I gotta do is we'll run a horizon line through there, which is the edge of embankment for maybe a like and we might have off in the distance. And Bob Ross stole mountain picks. Something like that. And then we will have so am I will probably just reflect. Does something gonna roughly, during a shape similar they don't. Whenever you doing reflections Don't fuss too much about getting it perfectly. The sign, because the human eye doesn't really, you know, do it. A direct comparison and such. You can get away with something that's loosely approximating the human. I will fill in the blank. So reflections become really quite easy from that perspective when you think about it. So I put a little I think we probably need a little cabin, maybe for some fishermen. Teoh style. Keep it really simple. Lift a little cabin there, which young we can reflect No water, like so something like that. Okay. And then we're going to have a ah Siris of public raisel pine trees running in there. So they're gonna reflected in the water, and they give it a nice dark for that side of the painting. And I'm not going too fast too much about getting there every day. Tell them, right? Especially in the middle. A blow. All just do a few shuts. They look. So if you're in the middle there because they're quite gonna be quite clump together, you're not going to see too many details on the in flight there. Make that one just a little bit too, although, like suffer. And we have to obviously just do the reverse here in the reflection. A line nowhere near the care, all the detail. Okay, those lines. And then we're going to have a row of distant paan trees in the background. That's gonna be very distant, not have the mobile life through. If you if you're running ally through, it's gonna look a little bit. Teoh staged just frame at the corner there with some or there. Which means that corner there we need to thinking up. We're gonna have obviously cross over there. That would have front a few in here. Okay, We gotta have a Knauss embankment a little bit of grass. Grassy, plain. So that's a little basic Skitch. Kind of like how Bob Ross Alexander would have done their oil paints, but not quite a sun. So what we'll do is we'll use surreal Ian in with this blue here to try and give it a nice , cool effect. I'm not gonna paint snow, but, you know, they look like alpine or Alaskan mountains. Therefore, we would I want to keep on the cool thought. Just a little peek ahead of the others and crimson in there factor Mark. Decimals in crimson down a bit lower. Let's just run some of that in. Keep this nice lot value. He today. Okay? You don't avoid those mountains. I don't have to put this pound ever. Only patch is a lot, like, say, here in there. Sure. And then we come forward. We will add ultramarine blue and with our Mikey makeup mix up up here. And I'm not gonna bother in this to attempt to get snow capped mountains and so on. Just going to block the mean is one big shudder in the distance. Okay? Going to get this course to be reasonably sort of the beginnings And if we stopped trying to put a well, actually, we could all we'll say for the moment. All just so we're gonna keep it simple. How it up? I don't get to the bottom of the mountains. You can see the water is pulling up there. Frodo, just get some claim water on my brush, and then I'll just defused that are on the bottom up into the trees there. That mind. Okay. And the reason why I do that all just soften the amount pipe pigment, um, down in the bottle Here, credit graduations can The man is gonna be doctor up top down the bottom of the valley. Okay, so we've got that we want to do. We want get the reverse of that in here now, So get back into some more ultramarine blue journalism Cruzan. Okay? And often your reflections are going to be a little bit darker. Um, it's in the world's reflecting. Can depends on the water and a lot of the time. But if I just rubbing that in it looks like a little bit behind there. What? I will take time to get in just now. Is Scott Color in here? and on the side principle. I showed off a bit off the same principle. I will use this frilly in, but just a little bit dark. There's a bit of ultramarine blue in that mixes well, but let's just work that night. He down in the water. He I'm not modified clips, um, edges and we costs, um, believing at the color. In fact, I'll push it up into the and will encourage it to blade through. The reason is, water could be moving with a bit of wind or sun blowing, and that will cause a break up in the surface pattern. It wouldn't be unreasonable for the edges along here to be a little bit softer than what the r, p and C. I've got a bit of an explosion happening up in their August with that in printable ideal. Smudge it like that. But not to worry. Okay, Next gonna mix up that green field color again. Kevin Meal a lot. A little bit of this grain here medium PHR to take a little bit read just toe time back a bit. Let's just see if we can run that up. If you'd like that, give what doesn't run down into the lower parable pining. So I'm just up pulling some of the water out of there. Okay, so I just draw this off a little bit with the head, Dr. And just to help us move things along. So now welcome a little cottage here and I'll keep the principles of Sam is what we've been doing. It is gonna be ever read a little bit of a red roof. It's a very simple little cottage. It's one. Okay, Too much water in there for this. I think that that will get some ultramarine blue crimson along those lines, and we'll just there, I think that shed on the ground. Okay, so it's a very basic little cottage down fast. This is this planet this up a little time that we're doing here. It's really about him or about the reflections, but in for that front wall there. Or just take some of this blue. It's got a lot of water in there, which is what warms. I like flint tie. A little bit of pain there. Sprint Rand. Some really wanted to just teach that wall the okay. Right now, there's little distant wrote trees here. Get that to the blue aside, grained over. Listen, Crimson. Favorable pint. Okay, lets just test. Just get that Dr Mixing so we don't want these trees to really come forward. It'll we just want a little bit little bit darker than the mountain range of the back. Like so I, which there good now makes up yellow ica loser in crimson mix with out any war. Just put in a bit of a sand embankment over muddy embankment along through that to break that up a little bit farther. That looks like a And then we got these large trees here, so they're going to be a doctor. Makes a little bit of a lizard in. Sorry. Burnt sienna, ultramarine blue. A little bit of water in there. Keep that old movie. I'm some loser and crimson. Well, that always in crimson either path, everything I do. So keep that in mind. We'll get some of this grain failing green. That's Philly, Doc, that also it's quite us. There's hardly any water in there. I want to go on too thick. I want to say some of pen box in there as well, so we can do it get water. Just spread that around a bit. That's better. That's really how I want to go in this. Like that. Support. Just use the water. Could pull some of that pineapple when that draws likely will be out of Seymour. That panic rule. Yeah, that's starting to come through that now. The same day he signed mix water, Something at that. Should I be on the building there and that we just do the reverse here with the these ones ? Sir, You know, I'm not even attempting to panic exactly the same as it is above. I'm just really just getting assign value and we're after the same shape. And, you know, I know that people as they view it, I will feel there the information in for themselves and they go, There's a nice little landscape planning to try, which have that sort of Bob Rossi Bill Alexander sort of effect last cool sky distant mountains with the puppetry Wilpon trees on the reflection in the water. Here, that's a good little exercise to do just to get for me. We've have Teoh to go about pining something like that. So I haven't got that one. I just dropped off with the head draw. The great thing about pen and ink is that you know when you finish, you can always come back in here and add in mawr sort of details into what you've done. Make sure fully dry because it might end up a bit of a mess if you stop trying to add details in with the pen wallets, wit. But when it's fully dry, Lucky's, uh, you can start adding some, you know, mawr interest in details. Why mirror them? Exactly. But all at something looks. So came a door there that should have been there we didn't have. Maybe there's a chimney. Put more detail into these popular. Put some of these outside off the watercolor area, or even just strengthening up, um, the different areas. Looks I you might put in a flock of birds. 20 remark for them there. Gates may be flying away into the distance. Andi might put in some posts, just a few advising and reflect, um, in the water like that. Little things like that landscape reflection tie with my little night of what I'm doing. So look back in a couple of years time. Like God That's what I was up to. That's what I was interested in studying at the time. So they get Is I quite a handle landscape painter? Try with reflections off the mountains, in the water, in the trees and definitely Goodall landscaped. Try as a pen and wash. Haven't got that one. I'll see the next video. 20. Coolum Beach: Okay. Welcome back. Let's do some little Seascape paintings now, so we'll start off once again. We're just creditable frame for ourselves on, uh, once again off the reader, right? With a little sketches here, pain and watch sketches about fast too much about getting perfect lines. The last thing you want to do is get a rule route and during a rule up during the lines of a ruler, so under a little, a little same, which is cool beach where I live. It's a little bit of a hospital. Hedlund there run something like that. And in the foreground, there are some nice DACA rocks that in that corner of the laughable Al Qaeda baked show over here, her eyes along the water will run behind that notice. That's up higher than he in the light. Tribal gets rocks and things in there. And there's certainly lots of rocks around the bison makesem box indicate that there's followed. And he is, you know, we're gonna have some pawn trees and things up on the hill, and the further around you've got some apartment buildings in the lock. Okay. Deborah followed on the on there, and then we'll bring this sort of sand around. So that's something like that. Try and get in a couple of breaking wives and my little bit of what? For the breaking wives. A lot of people say shouldn't use what we've water killer. But hey, que no. Is that painting would do what we want with it And different. We use what we use, what to get some breaking water. I really go for rules and things like that. So much so there's a little pellet that we've been using and I've actually gone and shift haven't shifted, but using two pots of water for used one to claim the brush and one as claim water if and when we need it. Piper, tell at the ready. Now a favorite of sky Here s O B good toe. Do something with that sky. So I get some water and mix it into blue section. Here I get that point working again for more of the pigment, okay, and have a nice, warm sort of horizon through there. So I just kept this blue working towards the top of the, uh, scar there. Let a little bit more pigment add a little touch of dealers and crimson there. We'll just run to some of that. It higher up. Okay. And if I said I want Oh, now running bit of warmth in the lower part of the sky. So, Texan, this listen crimson popping up there, get some yellow I work for. Get some clean water. Just see how we go. I need to be more What? That Let's just from some of them over time, that ends with top of the there as well. And working back up into some of the, uh, pops of the sky there. Don't look that Scots little damn just cleaning that. I'll talk a little bit more of that blue mix, and I'll just work some of that in look, so I got some hairs that come off. I never tried. Chase those out. Ah, wait, Tool. We get it all to settle down, it'll dry in the Navy injury of flick off. So that's no problem. Um, okay, let's take more the feel like we'll get for slightly doctor mixed, More pigment Now, seeing her in there. Okay. And let's just pop that in over these rocks. Look. Sorry. Yeah. What? We're going to go through a fairly strong a mix of the ultra marine blue here. And I'll put in some of the cavil flu. Well, surreal Ian on the market in there as well. A little touch of the grain on. Let's just see how that works. It's gonna run through there into their clipped a little bit into the Yeah, I thought just pull from of that out. Bleeding up there. Which hold, Pull some app. Okay. Now, as the water comes close to us, it's going to get Graham. So I didn't Green Milica, You kept me meal a lot in there as well to give a bit more yellow like that. Good. Now, out sent. We're going to do a nice a lot. Runny mix, muscle yellow. Okay. Be okay. Not wet. Sort of a bit more pigment in there. Try not to let it bleed into the rocks there. From some of that castle we have today, I was gonna come back and just adding some stronger docks for stops. I'll take this, Burt. See? Entering he on a we'll add ultramarine blue. And now it wanting less water in the mix, canceled. Ah, stronger people get some of the Crimson as well, do you that they too strong a mix? And we just want just start to dock in absolutely of rocky areas, Maybe down the trees over here, too. Okay, Now I haven't let this completely dry. Well, haven't let a dreidel so it is going to blow a little bit. Soldiers kick my I'll not stop that from happening key More than ultramarine blue and good CNO. I just can't work some of that into the lots coming from either in this direction of he. So I'm just going to putting some shelter on the rocks there. That spots where they're not getting much of that lot, just pulling out some of the pigment there as well. Okay, so I get a little bit this ultimate and blue. He now some of this grade, and we're just largely run some of that in. We've got that under a pint of that lot and leave plenty of that to come through on the Fed . Learned here. I just had a little bit more, but the ultramarine blue into that mix parts okay? Yes, Sam, we don't just leave that completely bland. And I were gonna mix up just a slightly darker version. More of an orangey but sienna kind of version. That sand. I'm just with a dry brush. I'm just going to just running for some wet sand like site and then all just a little bit of water. Just suffer that in parts you're in there. I just cried for before it. Interesting looking feel in the send a little bit strong. So artist, pull back a little bit with the dry brush. Okay, Now what I'm gonna do, I'll take my small brush here, little round brush time that one little bit. Claim water on it and we're just working into the water. But I use the water a lot. A lot of water colors don't like to use waddle. That's up to them. It needs a bit of work just to get it. Get some pigment happening. And in high profile biologist figure scrubbing there just to get that payment moving. Couple of indications of from why've so the blue grey after got from blue onto it? Probably in hindsight, what gash? My better choice. How about so they get is one approach doing a quick little Seascapes study using pen and wash Good and nice, strong Hedlund in here, which is a cool beach, little bit, an indication of some docks in the corner. There for some more foreground rocks and things and in atmospherics of sky of a bit of Worf Dambulla probably have stripping up the horizon line. I'll leave you to decide on that funeral. Variety of colors be the highlight, showing through on the Hedlund and plenty of the ink. Also showing through May have, in hindsight, wanted to just detail up the water. Just that little bit mawr with my penance. I keep that in mind for next time, so I'm good little six. Get pain to give a try to have got that one and I'll see in the next video. 21. Barwon Heads: Okay, We're gonna have Ah, another goat. A little Seascape painting here. This one's got some nice foreground shed eyes, too. And it's bow and heads Beach. Which one of the very first places we pine it for the, uh, planet panning TV on what I want. Oh, really kept you here is, uh, the bart should, which is catching a lot. Rot on the front there, a little bit of a rise right about there that runs through there on a lot of fast Here you're catching a light afternoon a lot, which might be quite nice. Composition. It's getting light. And then it'll shadow in the rest off the same, which are like it, Max for really nice composition out of he There is a Jedi which have a whole lot of halls and things on in that runs beholding there, there, shit out there, tools and everything that I've been up Look to shit on there and there. When does letting out onto the balcony here quartile of dock on the knife on Did have some a fairly large supporting fame's running through there, the water underneath the jetty. It's gonna have that there's some navigational between paces in the water. Andi. So there's gonna be lodging here, shut on their shadow in there and there. And we have this band a lot. A lot on the front of the off this building on the knife shed. Oh, that's right. Right through there. Interesting little composition on, then. Some drama in the skies. Well, let's see if we can capture something a little bit resembling what we've seen. Funny. Before we do that, we got some claps here and on the horizon. I mean, the rest of it fairly blue. Likely skies. Okay. Favorite of water in there on. Let's just see how we g o try that. And then we'll take some of that exit there. Crimson purple. And then let's just work that into the bottom of the sky up into parts off. Very good. I think that'll settle down nicely. Okay, Maybe we need to just push it up a little into touch more blue. I got no idea that's gonna turn out things. Crust turned out just the way we lock it. Couple patches of water in there was well, which is good. Now let's just dock in that up. So ultramarine blue Crimson to grab back brain here. More blue. Well, to cool down. Okay, Touch water. Just Whitney to Rand. I'm being mindful not to clip into that sky time just yet. I definitely don't want to get along with the FISA That fais that that's gonna be in a lot of lot now alive did a little bit of a little bit more burnt Sienna. Okay, that's pretty much all check some of that. Okay, I'm just going toe Get that in another life. Yeah. Then we're gonna Texan blue. What is to be a sort of a silver right? This one. It's a little bit lauder in value than the from the mountain favor that, you know, just for that doesn't get too close to its like son. Okay, so far, so good. So I put the water underneath the pier there because you can actually see it coming through such a fine probably to docking. They compared to the fight of the world health. Not to worry, not to worry. And let me now get some clean water, get some of this yellow ica, mix that up in nothing a little bit of a lemon yellow or the Cappioli Medium Media's kept me a lot to that plenty of water and let me just run. Met him through. That's that patch a lot on the sand. Okay? And that's also the patch alive kitchen on that front surface catching a little bit further . Damn well, but that way it looks and the big shadow in here again. I'll go back to my ultramarine blue. She looks there crimson. Just just run the show through there. Probably even partly on the water there. It was not be foreground, Sheriff. What a shadow happening in there for you, honey Walking back on the water and this evil a Bluey shut out. So I like this place makes here. And then let's just run that to start this well, they need to do is docking up this back quite a bit more. Soldiers mix up Dhaka stock that I can be ready in that. Get a touch of greening that. Let's just see what happens if I just what? That in straightening up the, uh p there in the front of the from here. I was always a bit of a Dhaka panning of what? We're dumb, but I do lock the fact that but there's not a lot in the front. There you get a quick, super little pining were a lot of document which harlots the sunlight hitting the front there and a little on the sand. The rest of it is, Should I Interesting little composition. 22. Point Lonsdale Lighthouse: Okay, let's now do a sketch of a ah lot house. So once again, not just crapped himself. A little frame, like so. And one of my favorite light houses is, um, Portland's dough Victoria devotion there some crushing wives and through the It's got the old look out World War Two bunker in the rocks there and there's, uh, walkway that comes down like so there on the beach on top. Here there is the lot house I feel. Give myself another worrying for it. Just run it up to the that I'm doing is really sketchy. I'm not fussing about much of it. It'll really come of this. We have to readjust l top line there now. They got some communications. Bitter paces. So a couple of knives and it runs something like that. Okay, some windows in the bottom section. That's a nap. Building now to the back there. Dual. And then the rest is old. Just rocks, some bushes and things in the bottom there. And then we have It's saying that runs there. Okay, quite a bit of sky there. So just run that up. Just, uh, work with that. That's not a problem. I have said there's quite a bit of sky and this. So we have to consider how we gonna do address that sky while I think about that, I'm gonna shade in a couple of spots here. Got a lot coming from up here on this time here. Damn sword. Okay from doctors should window here. Some hand riles through there. This is old completely from memory. It's been a few years since I've been down there. We got these World War two bunk outs go live that runs out there. They got the rocks there, sort of run back in there. The Russians were attacking, I think was the, well, the Germans. Gyms. Look, we got that fire. It's fairly rough season there. So we'll keep. Ask what we do. The sky, I think. Well, maybe let's put it in a drama into the skill. Hey, given that it's such a B area. So let's get out. Ultra marine blue. Mix it in that Get over this thrilling. You know, the wizard And I'm just going Chief, give it 1/4 doc, the top there Gotta be careful to avoid painting. I have a edges of my a lot. Have here. So you quite Doctor. Okay, tell and then I'll take some claim water, and I'll stop too. Just run that down. Good thing about watercolor. If I would have put my book on a tilted up a little bit, they don't get a bit more angle there. But I'll just use whatever pigment stairs the key here. I'm not going to pick up any more pigment and the bomb here. I like that North darkness in this guy around the law half, Um, because that will enable us to give it a contrast. Happening there. Now pick up a little bit, is read and study more to socialism. Crimson touch, yellow eye cream. There. You can get some. Or with that, that's too much. Que just test a little bit about it, man. Just cried. A little bit of atmosphere, perhaps a lie. Lawing, son. The last sort of catch of the sun for the day. Okay, when that settled down, that's gonna be okay. Coming to the, uh, the water he now So plenty of ultramarine blue, ultramarine blue in the green for horizon. More grain that makes. And there won't be much sand in this, if any so we could go yellow eye cream that mix. They get a little bit of that warmth. Just run that in floor once again, completely ignoring my lines. But it's okay. Good. Now let's TAIK I'll try. And blue cruising turn Bet CNR in there just knocks the edge off of the off of that. It was in crimson. Okay, run. Should I through that and I'll talk a little touch a clean water just across the now. I don't want little wife dry brush on especially. Don't want that bleeding the sky. Okay, pick up that Toha conversion alert there again. Okay? From Mackie Dark. And here it's just have a reply around that on here, which doesn't run into that water. Too much propagator, Weber. A little bit of the bleeding, but too much of this stage. What else is good? This purposely time here. - I'm gonna come back to fresh, get some of grain. But when he touches water into that, too much water more that grain. Be this purple. I'm just looking for a dock green. Basically what makes up here don't too much water in the brush. And I'm just going to just working some college. That's pretty Lotso need to add. Add a little something to it and from memory has this kind of red or okay, I've read. I think it might not be a red rift, but I can't what it is, So just get a dirty red. I'd like to broaden. Happy, like so in the here. Needs to be some DACA dia grains. - So some of that at Don t drop it. A lot of it go Who are taking off from the cap back there? May doesn't have a little flawed of them. They got a little bit of wept or just looked that in a little and, uh, well, just strengthen out this hand row so it wouldn't get down on the bitch from that. A little bit more work around on. And last, but not least, a little building next to the lot house there. Pro in a little a little something. And there's a few different aerials and pace is running off the sort. A lot House for one's dough. Blockhouse. You could say that long. A pretty nearly. That, um it wasn't quite right. Doesn't make much difference when you're doing your sketches. I mean, Obviously, it's not a painting that you're going to finish off and sell and friend as little sketch, it works fun a little bit blading Ivy, he. But on that mind that I like that so sketchy I feel to it you develop this a little bit further. If you wanted to One thing. I want you to just pick up some of that red part in this follow just to tie it in here and there been a little bit to the I think the area there, that's a battle. What do if I could? Little sketch of Point Lone Star Lot House. I think that works reasonably well on a fun little exercise to do so. Having got that is another sort of variation of a Seascape top painting.