Watercolour Techniques to Beautiful Nature Landscapes

1. Watercolour techniques to beautiful nature landscapes: Hello and welcome to the course watercolor techniques, to beautiful nature landscape. My name is Ava Moradi, and in this course we will show you how to paint beautiful artworks. You will start from the basics, how to blend different colors without leaving any harsh lines. You can use any watercolor brand In this course we will pinpoint, which colors you can use at every stage, which suits all watercolor sets Together we will learn do's and don'ts of watercolor. And then we will find out what mistakes to avoid. Let's have fun learning about colors and how to mix them. Then you will learn how to apply the techniques you have learned on different topics such as painting trees and branches to get ready for the next steps Our practices lesson will improve your technique using white gouache or how to create light and shadows in your paintings and how to combine them with this course signature techniques. When you have learned all the main techniques, it's time to paint complete landscapes and figures. You will learn different techniques such as wet on wet, dry on dry, wet on dry, and how to create artworks that you're proud of. In this course, you will also learn how to paint Floral contemporary style. Also in your project, you will get access to free additional resources, including outlines of the painting, as well as grids, to assists you in your watercolor learning journey. This course is for beginners to advanced level for everyone who loves fast medium paintings, then what are you waiting for Come and join this class and let's paint beautiful nature landscapes together. 2. Fun watercolor warm up: Hi everyone, welcome to the very first lesson of this course. Today we are going to have a lot of fun with watercolor and get ourself familiar with the color names a little and how to mix them and how to warm up our hands actually, before we dive into other lessons. So as you can see, the color that we're using is for the sky color. We're going to use cerulean blue and are applied from the top part. As you can see, we go on a few times, the cat my hand and how I'm actually involved in it and mix the colors. Now, we're going to use an orange color. You can see, you can use any brand of colors you have. So right now, if for instance I say a certain name of the colors, it doesn't mean that you have to use those to. You just can use any similar color on your watercolors. You can use Winsor and Newton, or you can use our teaser. We do have lots of brands out there. If you have any questions, please do. Please do send me the brand names. I can guide you The what colors they have and let you know that which one is good and which one Like, for instance, for beginners, intermediate, or professionals, we are using the yellow color almost, and then a little moves towards more orange. Notice how we fade the color we apply from the dense color. Then wash the brush and dry it a little bit. So look how I'm using the tissue here is very important. And how I'm adding the colors. Add some orange in-between just the earlier that you saw. Then keep washing. The brush actually moves out of the screen, is on washing it. And later on, I will show it to you. How exactly you should do it, how much you have to apply water on your brushes. But right now, we're just getting familiar with the colors and having fun. So this is the very first lesson when it comes to the second and so on. Like other lessons that we have in this course, we kinda go through every detail step-by-step. So just get yourself familiar and get the fear out that always watercolor, it might be hard. Just follow up my hand woven and mix the colors that you have. Look at the brush movement, how we are actually fading the two colors in between. As I mentioned, you will see a lot of these real methods in the next tutorials. So just have fun. Mix your colors. Blue to yellow to orange. See how they mix even if they are good. The today's purpose is they experienced the experiment that you're going to go through and learn how to do this stuff. So as you can see, We have started using smaller and angled brushes. We call them dagger brushes when it comes to watercolor. However, if you prefer to call them dagger or actually angled wants like it's completely depends on you see how we are actually mixing the colors, two of them together. This is a great practice, so you learn how to fade two colors in between. And it'll water first. Then with cadmium red, deep hue, you can see all the colors, names on the screen. So if I miss to tell you one of them are mentioned one of the colors to you. They have all the colors names on the screen. Some of them, they have a mean matched. So if you don't have a certain color, that's still okay, don't worry about it. You can ask me what color you are you can replace. For instance, you have a certain brand, or you have a very simple watercolor that is not unlike from a famous brand. I'll tell you how to do it. I'll give you a trick that you get those colors that you need very simply. So we're still failing the colors in-between. These wash and dry the brush is quite important, so wash it, dry it, then add the paint onto your watercolor. Have a look, but we do have a hint of like water and S on it. Have a look. Have you are mixing the colors. Again, wash it. Go on it again. My hand movements keep doing. This is not really professional of paving it just for the very first tutorial. So if you are familiar how to fade two colors or even three colors together, you can actually skip this lesson and move on to the next one, which is a little more. Towards from intermediate and then at the end towards advanced level. So don't worry, you don't have to. If you feel like this is very simple for you, you can obviously skip this part. However. I like mixing colors myself. So it just, it's really warms up my hand for what is coming actually feels like I'm preparing myself to dive in suddenly and grew through a very nice and more advanced or intermediate features that we can actually learn through the next lesson. So just let's warm up our hands. Mix the colors, how to fit the colors into each other. And also, this is another important practice because you are experiencing different colors being faded. Like here, I like the blue, yellow, and orange. You see that? If you like the combination. And if you don't like the combination because you have already experienced it, you want to read that on your, for instance, on your model, your example that you're drawing or painting next time? Or are you going to say, Oh, it's pretty, is really pretty. I'm going to use it because sometimes we mix a lot of flowers. You will learn how to do flowers with lighter colors are darker colors. However, you might not want to make some certain colors with each other. Again, you can see all the names of the colors on the screen, like how we use rules wildlife previously, and then use lemon, orange colors. How to make them watery? Some of them becomes our favorite colors like purple lay. This is a corner as you get familiar with the colors. If you don't know what colors you have on your palette, is going to be really hard to do and very good painting later. So as I mentioned, it's not just a warm-up hands. It just for you to get familiar with your palette, to get familiar with your colors. You're you feel more confident what colors you have. I did, I do have a loss of actually students that they don't want to start a certain like painting because they are not familiar with the colors is unknown to them. So they're like, I'm not going to start because I don't think I can do it. It's just, you're going to learn all the techniques in this course. You will know all the names of the colors. You will get familiar with how they look like, what are the colors and how to mix them, and how to apply certain like mixed techniques with each other. So it's just matter of practicing. As you can see, sometimes we use a lot of watery paint and sometimes dense paint. It smells like more colors with less actually water. So it's more the pigments of the watercolor there, as you can see, for instance, now this is more dense. And then keep wiping out your your clean brushes. After that, have a look. How left to right. I go through the colors, fade them with each other. Now, does it another color, blue. We have used this previously in the, when it came to the first, I'm example. Now, I think at least a darker, one. More intense blue. It's kinda feel like indigo. Indigo is kind of my favorite blue color, even when it comes to color pencils or oil painting, I use this color a lot. Very useful one. How many times I actually wash it. I never had to leave my brush without actually cleaning it up, making sure you have enough water on it. You will really get familiar with everything we're doing. It's just a matter of luck. You practicing. Look how I'm mixing it with a little red slash orange color. So have a look at my hand movements, how I'm using a much darker one. I'm mixing them. It's good. Okay. Some of the colors really don't go well with each other. Now you can see that if you like them or you can use them later or not. More mixing and more fading, that these two colors perfect with each other. Like comparing to the previous one. I can see like these colors that go well much better with each other. Now using much darker red. And then with water, I'm just fading in-between the lines between the colors. So we eliminate that obvious line in-between the colors. Here. Keep washing and dry the brush to fade the colors. Applying even more. Now, using more dense, more colors. This is how you can add on top of colors on top of each other to create a more vibrant color look. The pigments further like absolutely beautiful. I like the mixture of like orange and red can come out really beautiful in this set, like the first one, blue, yellow and kind of mellow orange is my favorite. And also the previous one we just did. The combinations are really pretty. I really look forward to see what kind of colors that you actually come up with. If you do this kind of mistakes like splash water. Don't panic, just take them off BD or tissue. So don't worry about it. As I mentioned, I like, I look forward to receiving your experience and your practices so I can guide you better through this part of your fun practice. So we do have a lot of lessons coming up. I hope you have already warm up. You're ready for us to go through some techniques. And then after the techniques, you're going to start really some artworks and how to do Atmos, like landscape and nature. So I'll see you in the next lesson. For now. Take care and bye bye. 3. learn watercolor techniques : Hello everyone. Welcome back to another lesson of this watercolor course. Right away, we can dive in and use our water spray, which is my favorite tool and like spray our paper. And right away you can see I started using the wireless paper and how I'm using an moving my hand. If you spray too much, as you can see, you won't be able to shape the flower. Actually the excuse, excessive amount of water won't let you do that. So unlike that Vin, the amount of water is enough. We can shape the flower and we can move our brush in a way that we like. But if the surface gets too much breadth, we cannot do anything. Look at the difference. The first one was too much water and the second one was much better. The same is true about the C, drive for us as the ocean sea and drawing the sea or the sky, no matter which, if you apply too much water, we won't be able to control the colors on the paper. While if the water is enough, we can easily control it and even we can add another color onto it. So look what kind of other colors I've been using wireless as cerulean blue hue. And also I can add another color specified to shape and color this guy, like the clouds. As I mentioned, if you spray too much, it will get messy. So why did I just dive in straight away onto this technique? Because it's a very important technique. Water use, pray, you use a lot of spray and then dive into land is technique. If you need to control the excessive amount of water. The second important point is to consider is that, for example, if you have some flaws, do not try to rob them with the brush because it gets dirty. In this case, you should just leave that part and go to another place or just leave it for a few minutes until it dries out of my hand. Just leave it too much right now, whatever you do is kind of get like muddy. I have to say the array. So leave it alone. Stop touching it or some reason for some time. Now another point to consider is that when you want to use some color just after each other, such as wireless or black, or brown after yellow, which are dark colors on lighter colors, you should consider cleaning your brush completely since a yellow color is, is likely to get dairy. For example, if you are supposed to apply wireless after yellow, we should be careful and it is better to keep a distance even while washing the brush. After that, we fade the colors by tapping movement. Look at the colors I'm using right now. Use cadmium yellow, pale, and then use another color just to show you the difference between them and how to fade these two color into each other. This next point is about grabbing the brush. Although we should grab and hold it like this, we never stick our hands to their paper. Like this, wild growing seed, Django sky or anything else. We never do this. So we do it using tapping movements with our hands. No matter what it is, it can be sky or flyover, anything. Now using Prussian blue, one of my favorite ones. So as I was mentioning, our hand is we have to put, are lifted certain way that you can see. We should mention the point that everyone in every occupation has their own guest. Sheriff had imagined a baker using hand gestures like these are form of the breadths. Or even when you use a computer, every, all of us, we have a certain hand, gets shares. So you have to realize it's OK, how to do it? It's very personal. You can do like this is like a bread. When you do it, you tap the breadth when you're cooking it. However, if you've got typing the computer, it can be different. Everyone has a certain cache. It just, you have to really get familiar with brush and how to move it. That's why I'm doing it really fast for you guys to get familiar. When you want to do watercolor painter, you should not your Move brush like a certain movement, but the way I'm actually showing it to you, and you should hold your hand completely freely. Just like as I mentioned, a baker maybe in different directions. And you need to practice this cashiers and I'm teaching you right now. So fear is, you're actually NME watercolor painting. If you're scared and act like layer, you're scared or your artboards kind of become a little messy. But if you move your hand freely, it's going to be a complete success. So now let's move to warm colors and the spray water on the surface right now, keep a spring. The cat, how I'm using lots of spray. Imagine this line. We're going to start with this warm red, violet color. Pigment, which is a very beautiful color than app and we're going to apply cerulean blue. This is quiet. I know it's very beginner, but it's really good. You get yourself familiar how to actually to do this and mix the colors, especially this is like a filler App Galaxy sky that we're doing like the Aurora. But we are trying to mix different colors together and practice here. So make sure you do the same. Experienced the colors, whatever you have, it doesn't have to be this certain purple or that certain purple. It just whatever I just want you to get the fear of not having enough tools or lack colors away from you, get that away from you like yourself. I don't have it so I cannot paint. Obviously, you can just replace even another pigment and other color. The paper's still wet. I'm using my brushes, quite important. We're going to keep using indigo and violet. Look how I'm doing. I've put the tissue next to me and I keep going around. Asked, have fun, just do it fast. Don't slow yourself down. You need to have fun when you're doing watercolor. That's when you actually fill the real technique. I know that a lot of instructors do it slowly, but I prefer to do it quite fast for you. So you really get yourself familiar with this. The techniques of watercolor. Now, we did the light ones first and brought the darker ones on it. Look happier doing this. The ad, the surface of the paper is still wet. These parts are half a aesthetical, I have to say the main point is about Sky, which are going to be telling you about. So if you don't want to like draw them in blue, just do them in any color you need to have to have, such as sky that we need to let it dry completely. If you want to add more. Let's try to create a galaxy out of it. Now, if you want to draw, you don't have time to wait. Maybe you can use hairdryer. This is another technique. Don't bait. If you have a small hairdryer, just use it on dry. I look at my hand how and from what distance I'm holding it and how much I'm holding on each area to do this. In the next few terriers whenever you are getting into intermediate and actually applied the Real Techniques. And not just having fun. I'm going to actually teach you how to do this with different colors, with different, different models. I have to say as well. Have a look at how the color is quite different. It was much, it was brighter. Now after the strike is so faded. This is another part of our watercolor. You need to add a lot of layers to get help, to bring out that color brightness, to get that y brand color that you need to. Because watercolors, they fade away really quickly. And you need much more layers in order to achieve the results you want to. Now we're going to use Gouache, this white gouache. So you will see a lot of these white gouache luck technique that I'm going to use. I know that this squash can have lots of pronounciation like British and American, like my apology, I hope it's the ones that you actually say it as well. However, we will use this a lot in different techniques that you're saying. This is only creating stars. And you can read a little water. And also some pigments from the white goulash creates this and just splash it like how you sought. You don't have to do it too much in order to create a messy surface. Now this part is only for, for you guys to understand how a really dark area kinda looks like when we do. So, you can use a darker like indigo, really purple colors and create those small details on your paintings. I'm just doing it really quickly. However, this is just for beginner levels for you to understand how to use brush. So just try to follow and understand the tip of your brush to understand how to create and trees, like how I'm doing, like how I'm holding the brush is quite important. First this way, and then turn it around this way. The tip of the brush, I'm using it. We're going to go through a lot of different entry texture. So wait for it and you'll see how to create more realistic style. So we're almost at the end of this lesson. We just learned how to have a lot of mixing the techniques that we know. Next tutorial is also more techniques. So while you're, you have your papers and brush ready, let's click and go to the next tutorial and practice. 4. Do’s and Don’ts of watercolor: Hello everyone and welcome back to another tutorial. Are we ready to draw a lot of different style of skies and see what are the do's and don'ts. So now it's time to go through that. However, you have, you can see a tree example on this one. We will get to that later. But now, first, let's go through different sky drawing and the sky painting here with our watercolor. Any brand you have would be fine. I'm going to take you step-by-step how to do this. While you saw I put some tape on the paper so you won't get confused. Look at the brushes that I'm going to use. When it comes to square drawing, skies usually drawn with an angle like dagger brush or natural. When they have natural hair brushes, you can have all the brands that I'm using and the examples and then names on your downloadable resources, depending on the model and the type of artworks you are doing. So you are going to use a lot of angled or daggers brushes. So you can see how they look like. The tip of the brush is a little like. It feels. It's been we have different types of sky today. We are, which are usually drawn with, as I mentioned, with angled brushes depending on the model. And now we're going to put some water on the beat, our spray, my favorite ones on the paper with yellow color. We put some yellow color on your palette and wash the brush completely and dried it because the paper already have whiteness. The cat, my hand mobile employees and go through the first layer of the drawing or painting. Yellow career should not get dirty at the very beginning. So be careful what colors you're using. The cat, how I'm holding the brush, how much I'm putting in the angles, I'm actually moving the brush towards every time you use a darker color, like a cobalt blue hue that we're using. You can see the color gets dry, so you can actually spread the colors as well. Either spray on your watercolor or the palate. So as I mentioned, you make sure you clean the brush, wash it, and dry it, and then move onto your paper. This is an important, important technique, guys at a very, the first tutorial, which was very fun. I told you how to do mix and match and have fun. Now we are actually implementing that technique even though it was one, but now it's a real technique is sky technique. We are going through a lot of my students, they have a lot of problems with this guy. So now it's time to get rid of that fear. If the paper gets dry spray, not too much, just the amount that gives me on the screen today. As I get a lot of discretion, which color should use. Darker ones are lighter ones. I started with lighter ones and slowly brought the darker ones onto it. So we need, as you can see, this spray water techniques, quite important to know. Sometimes you need the paper completely bit, sometimes a little bit, and sometimes completely dry depending on your model. Says like wet on wet, wet on dry and dry on dry. We're done with the first example that was our promised dues wants. Now we're going to go through don't want how not to mix two colors with each other. So we had a perfect color combination at the beginning. Now we're going to go through another testing. However, what I'm using is correct technique, however, over how they are being combined with each other is incorrect. So have a look at my hand movement. It is important to do this. Wash the brush completely, then dry it. If you don't do it, That's a don't. Now, we are having another color. And how much I'm going to add until now is it's kind of okay, but now it's not okay anymore. So you really have to understand your colors like how the previous example we did perfectly. Now it's too much. This is a technique should be darker from lighter, but it's coming out like too much. And it's like going onto the blue surface a little Ray too much. If you look at the previous example, you see how moderate views. And now we didn't put too much like I have to say, emphasize on it. So again, I'm trying to create that dense feeling. However, the placement of them is incorrect. See how I'm doing it than just mixing it as being too much now the overlay. So overdoing it, sometimes it's not good. You have to actually make it like less color or not to put too much effort on it is actually better. Have a, you need to know the techniques like how we did that first this guy. And go ahead, go back and pause the screen, watch it for your time and applied again. Just my hands moves way too fast for some students. So it's good that you actually pause the screen, watch it a few times, and then move on. Now, let's go through this effort example. Again. Spray the paper. We're going to use light blue or sort of cerulean blue. I have to say, Look at my hand movements from the top part of the paper. Slowly tap the paper. Look how we are doing it. This is a beautiful technique that we're going to use a lot. Wet, then again, wet-on-wet. And the tapping technique, which is very important. The way I actually use the display and how fast I use my hand is very important, is just not I'm trying to move fast is a technique because watercolor, you need to be fast in order to create the textures and good techniques that you'll want to create. Just get use of it. Gets your eyes like feel like used to moving a little fast. It's a fun practice as well. Unlike other techniques like, like pencil, colored pencil or oil painting, this is quite a very enjoyable technique that you can move fast and get a really great results if you know all the techniques. So you can see how plucky combination different colors with the shoulder. You can create a very certain beautiful sky. Have a look at my hand movements, how I'm actually placing the brush onto the paper where I'm adding their own fading and where we need to reduce the colors. So cleaning it up. Before moving to our next example. We're moving towards the next example. We just saw how to do a correct version of a sky drawing. And next one still another correct version. However, the last one is going to be the incorrect and the don't version of our sky drying. I'm just getting prepared. Make sure you wash your brushes. Clean water, like put a lot of like spray water onto the surface model. Not too much that this is enough. You see what I'm doing? I'm just splashing like going with very clean brush onto the surface before actually applying the cadmium yellow pale hue here. This is guy is like more towards sunset, whereas the previous one has some pinkish and light blue ones on it. Now cadmium orange hue. Look how I'm going to fit them. Again. If you go back to the very first lesson, the tutorial that I mentioned to you is quite like for fun. Now we're really applying those techniques. At the beginning. I just wanted you to have fun. Not the thing like any of these can be useful at some point, but they are. So just make sure you experience and you experience your colors before actually applying them. Now, we're fading three colors together and in-between using the same colors to create that we need to. Now mixing colors. Some ivory black is, you have to be extremely careful guys. Just a hint of it on our indigo or any blue that you use would be enough. So before this we actually created the background surface. You need to do that. The background surface like a combined three colors. Now we're going to bring a darker color to create the Cloud space in-between. Look, I'm using almost tip of the brush and then with the other side of the brush be fade. Those parts. Have a look how I'm using it. Now. Look at the movements is like sometimes it's like tapping, sometimes circular, to fade down. Sometimes you only the T, the sharp part of the brush, you need to do this. Not all the way. Tried to really watch onetime twice, three times, and then make sure that you pause the screen. Watch it a few times, is okay. Because this is a very short video, maybe like 1012 minutes. So if you watch a few times, it's not gonna be that long. And then try to apply it at the same time so your eyes really get familiar with how I got rid of that point. You will get a lot of like maybe dust or dirtiness on your drawing just, you can just get it out of your, from your paper with your brush. This easy technique, we're just done. See how beautiful, how easy it is to create a sky. Now for the last technique, for the last example, we're going to go through a little incorrect version of this guy, the previous guy that we did. Let's see what we are doing. Not all the techniques I'm using the wrong, it's just they're not properly done. Now have a look, how am I starting? Still you can practice. It doesn't mean that you should not practice. It is good then you'll watch it now to do some parts of it. Moving from the side of the paper. This is the standard, is okay to do this, we should not really start from the middle of the paper. Now using some cadmium yellow pale here. However, now look at the difference between this one and the previous one. It just the technique is correct, but the way we are combining and fading them is incorrect. Too much. You have to start a little lighter and then slowly add up onto the colors. Layering is very important guys, like layer by layer, making sure that how they are being placed quite essential part of our drawing. And then suddenly brings such a dark color without having a certain background is completely false. So make sure you have a certain light, nice background so you don't like, looks like more like a loss of like colors with dark background without any aim onto your drawing. This technique that I'm using, it is correct. You can use it. It just wash your put some water on your brush and then you can lift up the paint from your paper. However, please do not add a lot of this blackness like this on your papers. And we are done with this drawing. So I'll see you in the next tutorial and buh-bye. 5. Applying techniques to trees and branches: Hello everyone and welcome back. As promised, we're going to learn a lot about trees and branches drawing. We are going to mostly use round brushes in size 12 or in-between them half of the sizes or even 0 sometimes. For the colors you can use burnt sienna or burnt umber or something we can use even black. Have a look heavier during this time, we are not going to wet the paper. Starting with burnt umber. You're going to start drawing the branch at the very beginning. We don't need to put our hands like this or color it this way. Our hands should be completely free to be able to paint like this. So look at this word. You need to apply more water to make it sufficient for the rest of the work. For the FIN part, Look at my hand movements. Have you're doing it? How we are going from more towards like holding our hands above the paper, rather than just putting our hand on the paper. My paper, how delicately we are doing it. It's extremely important you draw and make sure you practice this one because we are going to use this technique a lot in different places. Look at the movement of the hand. How are all the parts are drawn by one brush? This part is thicker than the other parts that you saw, the middle part. And when it goes up, it should become thinner. Look how we use. We should put and then lift the brush. For example, as you can see here, we need a thicker branch. May leave some parts on touch. So even though it's like if thick part but some part of it, it should be like a little lift the brush so it becomes thinner in-between the, the main part of the branch. Added appears. We are free to form the shape based on what we like. For example, here we have a very feature branch. In the very beginning. Look at my hand movements. How pressing a little harder at the very beginning, and then slowly, gradually lifted up then in-between, put more pressure than reduce the pressure is all about your hand movement and hand pressure guys. So make sure you understand how to use the tip part of the, how to use your brush precisely. So we really don't need to use the tip of the brush. We must use the tail end of the brush by pushing it a little bit harder to form the figure parse and use the tip of it to draw the inner parts of the branch by throwing the broad brush. In different possible forums. Like this. You should get dryer when you're actually moving towards a female parts. So after this, we're going to move towards a little more complicated drawing and coloring from branches. We're going to go through how to do a complete tree drawing and we're going to go through different versions. In order to draw a tree and actually coloring it. We still need to have branches. So it's good with an H pencil, a very light one to maybe sketch it out, but do not use a very like HB or two before we pencils, that's going to leave marks. So make sure you use like very light pencil May and also what are about brushes, views, please pay attention. Support this kind of drawings and coloring. We use natural hair brushes. Let me show you the brush that we're going to use. Natural hair brush. You can see with different brands, the cat, they, how it looks like. Try to, when you're buying it, look at the description if they are saying what kind of things and do not get a very bad quality ones. One good quality, brush, it worse. Really worse like ten bad quality ones because those ones can I get ruined? Now, I'll talk to you about brushes later. Let's move on to their pains and what Russia's we are using. So we shouldn't apply too much water. Instead, we're spray water on the watercolor paper two or three times to provide a smooth surface for the brush. Now we want to use a brighter green color, olive green, as you can see at them with tapping movements of the brush instead of drawing lines. With our brush on the paper. Even be put some empty spaces while applying the color like leave some white spaces, negative spaces, we call them. If you have gone through my other courses, you should know about negative spaces, but negative space, it means like you need to. Leave some white parts in order to create some dimension, some depth. So after that, we combine the green color with last, the green color than I mentioned to you. Then same is goes towards a brand color. We mix it with the previous one. This way we can bake the green color in order for it not to look wrong. So it's like cooking or baking. You just have to make sure your colors like stands out and they don't stay in a very general way than with a tip of the brush, with tap it and create more layers. Look at the way we are. This tip link technique is being used here. Again, we continue tapping. Please notice that our hands should not touch the paper so you use your hands freely. Again, we are going to use dancer color and darker color. As you can see, we need to apply the darker colors to some parts, such as the beneath parts, which makes it should be darker. When it comes to brand chance and the shadows. So one certain point that we can actually, just by looking and see what kind of brushes and sizes I keep using. And how, where I put more colors. And very, very top. Like, when is the right time to use a smaller round brushes, like right now, because we are creating a certain lack branch part. It's good that we use like such a small thin brush. So please understand wet on dry technique and sometimes dry on dry. Because when we are applying the branch, I'm not saying it should be completely dry, but we need to have at least a little dry surface in order to add those branches. Otherwise it's gotta be too muddy and it's going to go everywhere the colors are everywhere they want to. And as we said, we should apply colors from lighter to darker, which means from water ear water, base to denser colors using a natural hair brush with a tapping movements. You can see this is an angled brush. So it's better to use it for the tree because the angle part of the brush is sharp and helps us in the drawing. Now we spray water a little bit here, then apply the colors starting with water, like what our parts and lighter colors. Olive green is our lighter color. Here. We draw the sharpest of spots on the top part of the pine tree. Look at it again. Slowly. Follow my hand. Woman's, we put it like this. This movement needs to unless our practice guys, so don't get discouraged. If it doesn't look like this, then we add the risks on it. This is the second layer, applying the tip of the brush before it gets dry. So that's why I have to be very fast. Because look at the hand movements, how I'm using from left to right, but you have to do it fast, otherwise, quickly it can get dry. And then you're going to lose the chance to create the beautiful color that you want to create and fade down with each other. Sometimes we might even have to wash the brush to remove the color from the painting and make it wider or even darker. Make this darker like this. Now let's look at these steps again and notice the movements of the hand one more time. Here, the sharp parts of the tip of the tree, the movement of your hand must be like this. We are drawing it a little bit slower for you to easily be able to follow a category share on my hand. They're going to apply darker colors on it. The second layer, very easy to look at the tip of the brush, olive green plus burnt umber. As you can see, we should use the tip of the brush or a width. Or it's based on the shape we want to draw. If you want to apply some modification, we can add some lines like this. And to show some lights. Of course, these lines should be interrupted and not continue. Like like tapping. Since we need to draw some parts lighter and other than part. We'll imagine that we don't want a treat to have such an empty space. And instead to look denser, fluffier, I'll have to say to me more interwoven. They call it, It's quite hard to come up with this kind of adjectives. But to do it again, let's use our natural hair brush and continue drawing, looking at, look how I did the beginning, the first layer of it. Very easily. Now, just going around, it's such a big brush I'm using either. If you don't want to buy such a big brush, that's okay. Throughout this course, you will understand what kind of brushes you really need. And you can make a decision. Let's have a look. Let me give you a few examples. So for those of you wants to save a little money. So let your paper draw completely and you can use back of it, but make sure you really tape it properly on your desk. I'm going to go through proper taping in the next few lessons. But when it comes to our artworks, right now, I'm just going to show it to you how we are taping it because this is not our we're not going to use lots of better water surface on this one. That's why it's okay to have this amount. But it's going to pop out if you don't tape it properly. Look at my hand movement of it, our medium round brush. Again, start with the beaker part of the tree. Be a spray water on it. Then we're going to start with the, again natural hair brush and create this space like this. This is the same what we did in the, before. We didn't have enough space, so I wanted to do it here. So you can see properly. Now, this is a proper wet on wet technique. As you can see. Make it denser color like a bolder color here. Stippling technique. Keep adding my hand woven some parts. Put more pressure on my brush. Some parts, some parts lists pressure. Now adding even a third layer, but this time more towards like the top part of the areas that we need. So we create some Caribbean roundedness onto the tree parts. It's very fluffy, so we have to make sure that the fluffiness of the trace taste hair so it doesn't have that much white space. But we do have highlights on our plot. Highlights would be considered the y and the lighter green color that we have used. Again, my handlebar and keep tapping, keep cleaning. Then dry it with your kitchen towel. I would say. When it comes to the tissue, it's good that you use Kleenex or like any normal tissue or even a bathroom tissue. But I prefer kitchen towel because they are very thick and they they just make sure the t-shirt doesn't enrollment and you can keep using it over and over until it's completely ruined and red. So it is a good, good one. If you have to kitchen towel, kitchen tissue, that would be a good one to use locale. I created the branches that I've taught you previously. Now on those imaginary branches, you're going to add more layers with a bolder green color. I'm adding them. Hopefully this one is less rushed and you can see properly how to do it. It can be much drier. So we are past the wet on wet technique. Now we are adding mainly the top part so you have to make sure which areas like we have different levels here. One devil, second, third layer, and each one, the top part is darker. Keep adding fourth, fifth layer. You can see how easy it is it just how to create the layers and what brush to use, what colors to use. Those are the important elements. Small details that I'm creating. The small like dots. Drawing parts which you create them with your dry brush can be like, can become very natural when it comes to trade drawing. Now let's go through another example. A little wet the paper with your spray. If I'm not really wrong here, I hope I'm not. If you think you know it exactly, let me know in the comments section. However, this is a Japanese tree, bonsai tree. If I'm not wrong. So hopefully, you know which one we're talking about, but I'm going to draw it for you on calories so you get familiar with it. However, I'm using a much thinner round brush going around. This is completely different for the previous one. We put the layers at the beginning and then apply thinner branches. Now this time we are putting the branches first and then going to apply the greenness on it. Look how we are applying it. It's really cannot call this wet on wet. Dry on dry. But you need to have some, of course, water, otherwise, pigment won't work. So we're using the natural hair brush to draw the floppy parts. Like earlier. We do it with tapping movements of the brush and applying denser color. Since we are applying the dark ones, we go on is some parts of it and even apply more to create those shadows. The shadows, look at it. How we are doing now is like the darker ones. As some parts. Easily you can create, you can draw really beautiful trees, flowers TO step. This step we're going to go through all of them and you'll learn a lot of techniques here. We're adding more details on the sides. Keep continuing around. So this is the three of us talking about. So I hope it looks familiar and I will dry. Now let's add the branches we drove before and make sure they are these people. Again. One important thing, that's the reason I started with having fun at the beginning of this course was like you need to have one menu draw. You need to get excited when you start doing it. It's not just all about like techniques and make sure it comes out perfectly. Just have fun and while you're watching it, try to practice afterwards. So it's kinda fresh on your mind and you can follow along so it becomes more exciting. All what kind of papers you need to use, what kind of brush you need to use? All of them, they're available on your downloadable resources. Obviously, sometimes I use Fabriano, sometimes certain brand that I'll find in the UK and I'll buy it from Amazon online or from the local store. You can find it anywhere as well. So they are quite accessible. And we do have similar papers. So this is another one, the third one on this paper that we are going through. A little different, kind of like a small short ones. The short height. It lots of branches and leaves just like before to draw it, we start drawing the branches. You need to minimize and then maximize your hand pressure and use the brush freely. This way you can shape the interwoven parts. Have to say like this full of branches. Look how I'm doing. If my apology, if you cannot see some parts of it, but this is how you should hold the brush. This is the right way to hold a brush. So we keep adding the branches and then like layer, layer, the branches add more colors onto them. Just like what we have done earlier, we apply colors from pail of water air color to darker, denser ones. Then after that, we can draw some fluffy Perez, some details the leaves onto the trees, onto the branches. The reason i'm, I'm moving really fast, you need to work on it before I'm actually at the color on your brush to get a dry. You draw some shading on top of each parts with a darker color. It's the same techniques, same method. It just repeat. What's different is just what kind of color you want to use and how you should move your hand and brush. So the way I'm moving my hand is quite different from the previous one. This is wet on wet technique almost because the previous version, like the previous layer, didn't have much water. So it got dry really fast. Now this one is like mainly dry on dry because this part of the branch, the the parse here that we are going through been really dry. See how I'm tapping the paper. I'm getting the colors straight from the are not even palette from the main box. And apply it. Make sure you clean it while moving to another color or when you want to fade the colors in between. So I hope you have enjoyed so far, we have another one more example that we are going through. This is the last tree drawing. Less lethal, put some water to our paper. We have prepared the paper already. This one, this tree that we're going to draw is more exposed to the light. First we are going to spray of water as you saw this part, and then use yellow ocher on the on the surface. Look at the difference. I used yellow ocher as our highlights. So highlight can be, can have different definition. Can be whiteness of the paper. Can create whiteness actually by lifting up the colors with your brush, with your red rash from the lagers, from the surface, or actually using lighter colors as highlights. So there are lots of highlight definition. There are older mediums the same, either oil painting or color pencil or even pencil, which we do have all other courses. If you want to check them out and see what other courses I do have, you're more than welcome to go through them if you want to learn another medium. So now we're gonna go through them. It's your decision, what kind of green color and you use here, whatever you have, do not limit yourself on today. Do I have this color or I don't have this color, so I cannot draw this, I cannot color this one. That's not true. So we try to leave some white spots in some parts, make sure that you leave them out. That's the beauty of it. Makes our artwork more beautiful later like this. I'm not going on to all of the white parts, the whiteness of the paper. Look what, which brush I use. Now, I'm using much thinner brush, which can be one or 0. Good fruit down versus stuff. Read the branches, then I'm going to apply more here. Darker color. If it's hard for you, you can pick up a brush. So it depends on your personal preference. They tell more brown for some parts. In some parts, you have to show the movements of the light. So how to do that with much darker colors? Even if it's brown. So don't be afraid to use it like this. We have again, we have left some parts wide, so please do not go on to those parts. This is basically the main techniques of how to draw the trace, but this is just the beginning of what is coming. So you're really getting familiar with the techniques, how to use your brushes, and how to use different layers onto each other. So I hope you really enjoyed this tutorial practices and make sure that you send me your assignments for now. Bye bye. 6. Fruit watercolor techniques: Hello everyone and welcome back to another lesson. Today we are going to learn how to draw fruits using watercolor. So as usual, let's use our H pencil, which is very light in order to draw. Any parcel would do as well. We're going to start drawing the fruits outline. Well, other things we should do here. We have to realize the importance of the pencil. Because if it's like too much, the sketch gonna show underneath your watercolor because of watercolor, pigments are very faint. So we have to make sure we realize how much pressure we put on the pencil when we're sketching out the initial layer. If you do it too much, That's okay. You can easily lift up the pencil sketch with your kneaded eraser. Kneaded eraser are perfect. I use it for most of the courses that we have and is quite useful. So you can see we're almost complete with our blueberries. This is a great practice before we dive into our artworks in the next tutorial to get more familiar with a little more intermediate drawings. Like how previously we did like more beginner and techniques. Now we're into intermediate, and then we're going to move to our artworks. Different landscape, different subjects. How to draw on how to apply only watercolor techniques. This one is watermelon, a piece of it in a triangle away. So make sure you understand how we are. Brian, get if the drawing does sketching part is fast for you. Don't worry. You have all the outlines within your downloadable resources. You just have to go through them and download them and you can easily draw from them or trace them. Or the best way is to watch this on the screen few times and draw them right away. We're just going to add the details here for the motor metal. When it comes to the drawing process, when we saw like a coloring them, we will need round brushes. So however, what brush or what paper you use, it is a personal choice because after a while you will get used to what papers really your partner is preference. You prefer to use it. What kind of watercolor brand you want to use them? You can use the simplest one that is good for beginners. Or you can go a little further and buy like a good price, like means are uneven or our T cell wants. However, we do have really expensive ones like Shameek. They're quite expensive, even I don't prefer to buy them unless I do have them. But then doing like commissions or artworks for someone, I tried to use that, but when it comes to practice, any brand would do so. Don't worry about what you have or what you have in hand and power when it comes to brushes, I advise you from the beginning and get a good one. Now, slowly, we're going to start going through our coloring part. What we have, we do have tissues which I prefer to have kitchen towel. We do have glass of water. At the beginning of an NA wants to bring a fresh glass of water. So it's non-linear. It doesn't have the pigments from their previous work. Look hmm, I'm actually using it. The color names are available for you on the screen. But again, I have mentioned it so many times in this course that you don't actually have to use this once you can experiment and see what you have and figure out the best color on your palette before actually applying it on your model. So try to understand, try to teach yourself about the colors that you have. Created a reference on a separate paper. By those reference, you understand that how they should look like and how you can mix different colors with each other. So now we have to clean our brush then with the lighter blue, such as cerulean blue, we're going to start the first layer of our blue color and blueberry coloring. Please follow my handlebars. I'm using a theme, but not too much. Maybe you can use a number two or four. Brush, round brush, and go through the first layer. Here is important that you move fast, making sure that you don't leave lines in-between and fade all the colors. Going to go around. It's quite easy to do. Now you will see how we layer up. After this is important that we added details where we're going to add the second layer, where we're going to add a third layer where we have to put more color and less color. So which part should be like dry on dry technique. Wet on wet technique, which we're going to go through them. A little darker blue. Here. We have to go around the details. So I cannot say this is a wet on wet. It's almost like dry on dry part. Peripheral the details. I have to say coloring fruits like a piece of cake. The only thing you should do is draw the sketch, then fill up the colors and shades, some parts with a darker color to show the light. In the next stage, we're going to apply denser and less water colors. So now this is a second layer we are going through. Make sure that you've watched the brush and then dry it and then fight the inside. Completely. Shading more. Keep washing and drying technique. So you can apply better fading techniques as well. Whenever it's needed. We shouldn't apply darker or lighter colors. Like this. Adding more details down my hand Lopez and apply the layers. You do have all the papers names and also the brush names and the links where you can purchase the correct ones on your from your downloadable resources. Slowly. Or they even a third layer. Keep watching. And then you see sometimes the brush goes out off the screen. It's only because I'm drawing it with the tissue here. Keep cleaning the brush. Try to avoid mixing wrong colors with each other. Careful when we're going through the outlines. Here near the line of us should be darker. This rule applies to everything else we do, either as pencil or colored pencil. It's the same. Alyssa spray spray, the this part. Just to create some width surveys. Can see that I'm not applying a darker Prussian blue all over the sum parse and living blue highlights out. Then we should wash the brush and dry it in order to be able to fade down. Keep cleaning the brush. You see the event of a divorce or am I apologize? It goes out of the screen. It means I'm just drawing it with the tissue. So we're still on the second blueberry. And sometimes you can even have spray on your palette because the color is kinda get drier some point. So if you don't want to bring more colors, you just spray them and they tell the colors become watery. Again. Expertise and easily can use them. So you can see that how easy it is to color a fruit. Very easy. So don't be afraid to actually sketch it out and try using different colors on them and see how it's gonna turn out. Just make sure you follow the hand movements and apply the same techniques. And always draw a wash and dry your brush. So please have a locale fading in between the lines. Going around. Make sure you wash and dry it. I'm just going to let you to watch right now how we are doing. If you realize I took out some paints from the surface just because I'm easily the surface is still wet so easily you can take off some of the colors from your subject if they haven't dried out and you have done them in a not correct way. So keep fading the lines. Now we're going to apply more colors, as we said. So we're going to solve it. The water colors. And to the dentist and darkest one. And then it's time to fade down. Like this. Fading is a very important part of the process, makes your work look more professional and beautiful. So do you remember the fading method? We are going to remind you one more time how to practice it. So have a look how you start from the very darkest color. Keep washing it, Dr. Peter tissue, and then slowly go down. Have a look. It's very important to your practice this one a few times. This is exactly the same thing we are applying onto this onto these blueberries. To do fading techniques, we need to apply a very dark color and then wash the brush and then let it dry a little bit and start fading is from the top to the bottom part. Or hear from the bottom to the top parts because the fruits has that middle part that all of them, because they get attached to each other and quiet. It should be a very dark. Now it's time to do very, very dark colors and apply the details. This is dry on dry. This part is not about like knowing the techniques. It's about luck, actually watching the handlebars and try to practice. After that, I have changed the brush to a smaller one because the brush that you use for the actual surface of the blueberries needed to be thicker ones, a bigger brush. However, for this one, we need to use the same brush that we have used in the previous tutorial for the branches. So how we create those details quite easy. You just have to look at your subject and practice. It may be fuel tanks with a pencil and then apply it here next to the live because it's a very dry on dry technique. After that, we have to use some fading techniques so they don't stay dry. So the same technique that they use on their right side. You have to apply here. So from really dense color, darker, we go through the lighter ones. But don't fade the whole thing completely. This is only to create some depth. Here. Like here. Apply a little darker parts details. Now we're going to use another brush to apply the green parts around the, around these blueberries. We can use angled brush or we call it dagger brushes. Look at the hammer. You cannot use rounded brush for this one because using a dagger brush, going to look more natural. Look hmm, actually shaping the leaves here. Again, the color names I'm using here, you can find out a certain different colors you have on your palette. Just try to create yourself as reference that I showed you earlier. You can my hand movements hail from right to left. I start and finish in the middle. Now you can use sap green is really not one of my favorite colors, but when it on its own specialty, what when you mix it with other ones, it's kinda come up nicely. But personally, it's better to combine the green ones and not just apply them. I spelled. You can see the color from the first layer to the secondary or how different it looks like just by adding the darker green. Some point and some parts I add more color and some parts I add less color. So let's pay attention like beach area. The hand moves in a certain direction. Now, these are the details of the leaves that we have to put the wines. Does use them with the angle part or the T part of the brush. This is finished. However, if you want to go one step forward, you can use white gouache and go on them and create the ultimate white highlights. Because I advice, do not use any white watercolor. It's going to come off really bad. So just ignore that one. Don't use your watercolor and white ones, even in order to brighten up your colors. I'll teach you how to create lighter colors with just the colors that you have, but it's better not to use white ones. Now, you're almost done with this. After that, we're gonna go through the watermelon and certain colors that we have. Make sure you always clean up your palette. Just you saw how I did spray the pallets, make them watery, and then take off the colors with your tissue. Makes sure that you have everything next to you so you can apply them really quickly. The reason I have the palate, the main box of their colors, and the glass of water next to me, because watercolor needs to be very fast, is a fast medium. You need to apply them before it dries. It's if and sometimes quicker than acrylic when my students asked me. So first is like watercolor. We do have pencils, but when it comes to realistic pencil drawing is quite slow. But this is quite a very enjoyable media for those people who doesn't want to spend so much time on creating a complete artworks. For instance, the artworks in the next tutorial I'm teaching you is being done in one hour. If you want to do that bit, oil painting is going to take few, a few days to do it. Now, let's go through this with the very straight part. We have to hold the brush in a straight way and create the outlines of the watermelon in order to make sure the outlines down properly without being shaky. Subparts that you can see there are white and the whiteness of the paper. I have left them deliberate on purpose. So make sure you do the same. This technique I'm using is the same technique that I've taught you like few seconds ago. From very dark ones. You go through the lightest one. That's how you should apply this slowly. The Kathy, how I'm holding the brush and from which part I started like creating them and which part I reduced the pressure. Now left to right LSL. Washing and paid em at drawing your brush. Now after this, we have to use some green, such as emerald green. Use any very happy campers. Sap green, emerald, I still prefer Sap green. Rather than this one is quite rare. We get to use emerald green because it's a very weird color for, especially when we want to use it for forest area or Django and anything green. It's not going to lose some really realistic, but it's perfect for watermelon. Wash dry and fate. The colors wash dry and faith. If you get used to this technique, is going to be extremely easy for you to keep painting and fading. Fading in-between the colors and your artworks become more natural and natural. Now we are using elisa sap green on it. Make the color to feel more natural. With the tip of the brush we are doing this. You have to take your time from when it comes to this part because it's really kind of dry and dry while the surface is thought that dry, but it shouldn't be water. So how I look at my hand movements, making it a little thicker. Please continue fading the area slowly added and then goes towards the highlight part. Using the dagger brush because it has this very sharp teeth. So you can see just how easy it is with just a few certain brushes and some. A few colors. We can easily create beautiful subjects with them with black, either either Black or normal black that you have. Just go through the details. And that would be it. We're almost done with this one. I got my hand movements, how moving through the details. We are mixing the green parts. Well, the techniques we're coloring in the next subject, this is a pearl or the same as the others. First, let me erase these areas and clean it. The best way to actually learn is Observe, practice, and keep practicing. Even Venice comes to cleaning your palette or what kind of water you use. You'll have to make sure that you have them prepare. So we're using a very clean water this time because the previous home had some dark colors, visually green. So we should not have it with our yellow mixed because it's going to become very muddy. Look Javier, using the lemon yellow color here. We have the sketch already ready. Make sure you have your tissue next to yourself or even in your hand. You're going to apply very watery yellow for the first layer. They can my hand movement, we did dagger brush. After this, we have to mix a lighter green onto it before it dries out. So try to be very fast when you do the colors. Hint of green because green can be very dominant color on yellow. You have to be careful when using it. Any dark hair color can become too much dominant. So how you control it and how you apply it, it all depends on your practice. So I put a tissue next to me. So this time you can see every time I wash the brush and clean it, this is y and this is how we can actually fade the colors onto each other. In order to create depth. To create depth and dimension, we're adding a little red as well, because when it gets combined with the yellow become more towards orange, they really complement each other. Make sure you keep looking at your model if you have a reference and understand which color they are, and then apply them not just out of nowhere. Look at the details I'm adding. I just want you to take it very easy. Venus comes to smaller subject drawing and coloring. Because as long as you get yourself familiar where and how to place the colors and how to fade it. And then later add the details. Your work, they'll become more beautiful easily. We have done the first, second, or third layer and mix colors with each other for destroying. Let us repeat, because the orange was not enough. We have to wash the brush, dry it again. We put a half of the brush in orange and the other half in green to draw the leaf. And just like that, you will have to color. And drawings. Have a look how I'm doing it. Half and half. Look again. How we can do to color at the same time. Very enjoyable. When you actually do it yourself. Look how beautiful it came out. You can even do it two times. And you don't have to actually mix two colors with each other just one time and that's enough. Make sure you're happy with everything. Just add a few hints of drops here, drops there of colors. And I see you in the next tutorial, which we're going to actually start drawing and coloring our landscapes. So practice until now whatever you have learned. So you're prepared for the next few lessons. I hope you enjoyed this one, this tutorial, and I'll see you in the next for now. Bye bye. 7. Woodland Mountain Landscape: Hello everyone and welcome back to another tutorial. Today we're going to work on this model. And this model, there is a landscape in which we want to dry the sky. The sky and the landscape itself are made of lots of BV, diverse and lively colors. So as you can see, let's start the first step. We should actually have our watercolor on their paper board. So I'll show it to you from the very beginning how we should do this stuff. Look at my God, tape. Cut it like exactly the size of your paper. If you don't know what is this? These are the tapes that with water, they become very glowy. So they will hold your paper without letting the water. And the watercolor pigments makes your paper to pop out. So they're very useful if you don't have them, it's quite alright. You can use any other tape. However, use a tape that is not going to get tripped up by water. So have a look at my hand movements. You can do it with either a tissue, put a vegetative tissue. How I'm doing as we're preparing the frame using a napkin and rubbing it on the glossy part of the tape like this. And then we're going to put it around the caviar, going through this one. Tissue, put it on the other side. The glossy part because there are, there's one part that is a non glossy and one part that is glossy. When you touch it, you'll now it is quite obvious. It's not a necessary tool for you to purchase, so don't worry if you don't have it at all. I have to find this one. If I don't have this one, then I cannot draw. This is wrong attitude towards drawing. Whatever you have around, you can use it. So we're going through the last part. I usually never skip this part in my tutorials. I'll let you to watch it. So starting with the outer part, slowly. In this course, this is the first real artwork we're going through. So far we have learned all the techniques and everything else. How to use the brush, which brush to use, how to mix the colors, the techniques. And we went through some fruits, subjects to get you ready. Now, we're ready to jump in and start this one. This is the second to start doing with our tape. We put this scotch tape maybe a few millimeters from the gum tape on the paperboard. Here, as the paperboard is larger than the model, we need to make the space smaller. So we need the tape entitled to go higher. But that's okay. Now after using the tape, we are going to fix the paper. Using a dry nap in gently and lightly. We must clean our palette as well. And you can see, I have a very, very busy palette right now, but make sure you take your time and clean it up. Just a spray it. Sometimes it's spread the colors as well so I can use it. If you cannot see some of the colors being picked up, don't worry. It's not a big deal because all the colors are being mentioned on the screen. I usually try to do my watercolor tutorials in a real time. So you won't have to force yourself to see it in a fast version because watercolor itself is a very fast media, fastest than any other medium versus watercolor or acrylic than others. So you can see it just cleaned the palate, the parse has been dried out, is quite hard. So if you want this happen, just clean your palette as soon as you have done with your artwork and practice. But otherwise it's going to stay on your palette and I'm really hard to get it off, but it's not it's not impossible. You just can use any any tools to get them out. Now we start. You're going to draw a disk guy, use a wet on wet technique. We need to make the paper completely wet. To do so, we're going to use a natural hair brush. We wash the brush as well. Then we're going to prepare the required colors and put them onto the palette. Look at this guy that we are going to use. You have seen and learned is this guy in the previous tutorials. So if you remember, now, we can simply apply. Sky onto here. We're going to use light blue color from this guy. Cerulean, blue would be okay, Analytic pink, bit of pink or purple. And here we can see a little warm violet. So either purple or wireless would be sufficient. You can mark your, if sometimes your colors looks the same, they're all looked like bluish or black on your. When you open up, you just have to number them and have your reference ready. Now slowly, look how I'm moving the brush on it. If you cannot see which color is being used, again is okay. So we're going to use the little reddish of our roommate pigments here as well. It just because watercolor sometimes can be a little expensive, maybe between ten to 15 or depending on the brands. So it's good that use whatever left on your palette, natural hair brush. Now, you can see how much the paper has been bred. I tried to show it to you before moving. And when you sprayed, just make sure you go around and spread the water out of my hand will mess. I'm not trying to move fast, but you have to move like this. My hand movement from where I start and where I tap more and tap less is quite important for you guys to create the sky and the clouds that you need. Or you can see on your model. Just better always analyze your model and reference and see where it has more color and less color. Now from the other side. The reason we spread the water is to make the surface even. We need to move the water using our brush and try to spread it to all, all, all over the parse and the paper equally to make sure every spot on the papers equally, we get started. We can, uh, you can see I'm leaving some spots, just white. We need to move freely at a high-speed. We're going to start, we started with a blue color and applied the other colors later because blue is kind of our light color. That's why we started with that at the very beginning. So don't forget the technique for drying your brush and washing it with water, and drawing it with tissue in order to fade the colors. That technique you have learned already. So I keep doing it. You look at the tissue in my hand. I always have it in my hand and clean it. And then again, clean it, put water on it, then you can clean it. Now having a little darker blue. What blue you have that is similar to this. You can use it. Do not limit yourself for the certain names. I keep telling you you have to use this one or that one. So we want to remove the color here to be white. Look how we are doing. This is a technique that you need to learn. You just lift it up. Do use the napkin to clean up because you don't want to, even though they are like small dots. But the colors should not stay on your mountain bonds wise. Since we are going to have very bright colors on it. Now stage, we need to use a hairdryer to draw the and dry the paper. You can either use this one or you can wait. If you want to wait a few minutes and make sure you little without putting too much for us, just tap the paper to see if it's dry or not. But I prefer you to use a hairdryer. See how easily we draw the sky and colored it. Now we keep drawing this part. I don't want to actually move it fast because it's good to see how long are using on the sky and how many times I go left to right. It's quite important. You see all the process. Keep drawing. This is the distance that you need to keep it from the paper. Do not grow really close to the paper because you're going to, I'm not saying you're going to burn the paper, but you're going to ruin the colors. Add drying. When it comes to if you asked me, what should how warm or cold should be, do not use too cold or too warm when it's because sometime the hairdryers can get really hot. I suggest you go through bars, medium, medium towards cold rather than the really hot version because you don't want your colors that you put so much effort on your paper to get damaged. You see how much or how many times? It's like around two to three minutes or even less, maybe one to two minutes, you have to draw it. Or you can wait for 15 minutes. So it's your decision which one you choose. I can see from here that the paper is dry, it dried or not. You will see two when you have, when you're doing it on your own. But I promise you this is faster than oil painting. So now we are done. We are happy with their part. And let me show you to explain some points to you again before starting. In most cases, this guy is drawn wet-in-wet Technique. It means that we need to make their paper completely wet by spraying the water on it. But it is not always the case. It means that sometimes we need to leave some spots, try to keep that part of the paper white. Look how I'm actually doing it. For example, if we wanted to apply yellow, we must use it. First of all, have a look, look at the hands. Move rent. We shouldn't drag our hand but move it like this using the tapping method. Look at how I'm moving it. Then we must wash the brush and then draw it like this. Then we're going to start painting the sky with these sweeping, flicking, motion with the brush. Plus cleaning the floor. Now if there are two colors such as yellow and blue, we need to start by using yellow first. We apply the blue color to this n to some parts. Not all of the parts do not overdo it. Look at here with a tapping movement, just like clouds. Drag the brush just with tapping movements. Then we'd wash and dry the brush again to be able to fade the colors. That's a very important technique, guys, as you can see here. So keep practicing lactase and you need to practice a lot to do this practice makes perfect, as you know, if you couldn't actually create the same effect at the very beginning, don't worry, it just is kinda come to you after a few times practicing. Well, that was a point which I was going to tell you about this guy. Now, we have to go through the mountain and need to show you the details. We should not use the previous method. It means that we don't make all parts of the paper wet, but we need to make the brush wet and shape the mountains in those parts. Let me show it to you how you should do this. As we want to work on the details, we might use a little bit of water sprayed on the paper. But the point is that we must apply the Kotter. It's a brush full of water, and then apply it like this. Have a look how I'm getting it from the palette. Then look at the brush one more time. Maybe even using the tip of the brush by you. By putting down and picking up the brush. Just like creating the stains. We create the texture for mountains as if there is a snow on them. Even in some parts, we need to wash the brush and dry it to be able to fade the end of the end of each part. The details look. Now I'm doing it. Just fade the color. Just slowly, not too much, just to add the depth. So keep looking at my hand movement. See how fading the colors. And we can apply the same ones onto our main model. Let's get proper. Keep your tissues. Next you pull the tissues like this. If you have thin tissues, make sure either you get a kitchen towel which API care, or these ones. To tissue together. P soft tissues. Now you have to make your environmental like pleasing, comfortable. So make sure that you have your reference, you analyze it. So you're, you're kind of More relaxed when you start actually drawing it. So you have, you know, like which part is darker color, which parts lists colors? And we do have a little pink, a little, we call it x1, brilliant, brilliant and pink. So to make the color combination. Now, getting ready with the colors around, just bringing some water. We should combine some pink burrows, want Marvel cutters to make some color combination for the parts of the mountain in a very light pink foot. Do it guys, to be honest. So you don't have to have the rows Marvel or certain pink. Just make sure it's quiet light as you can see how I'm going to use it right now. So keep looking at your reference, making sure that you realize you understand which part that you have to leave empty and which part you need to put more pink a color. And also the hand move n is quite important here. You're going to solve it a light color, the combination. Then we use a brush full of water and create the stains with a tip of the brush like this. Hand woven here, guys is very important because I cannot say this is completely dry on dry. But how we put the element at the details here, going to the turbine and how natural urine is going to come out. Now, you have to fit around them with the same brush. Because the first that you did was like very obvious colors. Now you have to go around them and feta with the same brush. This is the fading technique. Slowly. Make sure you use enough. I'm color. Don't overdo it just enough that the color is visible. This course have a little bit of violet. Even when it comes to oil painting or a color pencil. Drawing, snow. We use lots of purple and greatness in order to create the colors. This same thing goes for watercolor. But don't leave the color just like that. Make sure you fit them with your brush. The lavender blue if you have one and a little while at so if you don't have lavender blue, whatever you have similar to the ones I'm using right now, use it. You want to apply the lamina blue on these parts, or we call it blue-violet. So in this part makes sure that you have a more bluish on your brush. And your brush is completely wet to convey the feeling of this snowy blue color on the mountain. So be applied the stains, the colors like this. And how we have to mix the colors together, we have learned is that the very first lesson that we had fun together. I asked you to mix the colors. Now we're almost going through the same technique here. Hint of it. It's okay to go here, but please do not overdo it. Look how in a delicate way I just added some outliers for the tip of the mountain. Or these areas, you need to take your time and apply it. But our watercolor tech time is quite different from oil painting. Even in this medium, everything's quite faster. So we're going to use another color in order to go through this. Natural the greenness of this area. Some parts lighter, some parts daughter, a dark hair. Between green and brown. We need to create these colors. Again, I'm using my natural hair brush, not the, add the darker ones. You can see for the previous one I use the angled brush work for this one I'm using round, you can say, but it needs to have this amount of thickness. So from here is quite important to see how I'm using my brush onto the paper. Use just the tip of the brush. You can use like colors such as burnt umber, burnt umber, burnt sienna, or sepia colors. These colors actually my favorite colors in all kinds of mediums, like either in oil painting or color pencils that I'm doing on those courses are used. A lot of these colors as well. Became tough. Like who care green. The grain that you're using here, it should be not light or very fantastic color. It needs to be a mature green. The green or sap green would be very good ones for this area. Using the tapping movement, make sure you leave some part white. The whiteness of the paper is needed. And also whenever you change the color, make sure you've watched the brush completely and used a tissue and feta colors onto each other. Does our signature techniques, I hoped you actually memorize it. Here we are using the combination of the green color and a little olive. But it should be darker because we are using and some dots in order to create that depth. And don't forget to spray the water to be able to show some faraway trees. That's one of the very important techniques. If you don't have water and just use a dry on dry, It's not going to come out correctly. This part, even if you want to do with on wet technique for the faraway trees, you need to use less color. So the event looks further away. Still varies in tapping brush, movement. More towards a brownish. You can see I'm using smaller round brush to fade the colors. Then slowly add even more visible brown colors onto them. We let them to dry a lethal, but it's not completely dry, so it doesn't show in an obvious way. So while we are moving on in some parts, you can create some white spots using the lead of the brush. This is actually the lead of the brush I'm using is actually a technique. As you can see, we create some lines or stains on the drawing like this. And create like fine lines without using something sharper, that's going to tear off the paper. So whatever you have, it's useful. I always use the use my hand in order to avoid spraying more water onto other parts. So make sure you shelter, right? Raise your hand. Now, we have to use some, maybe olive green since L or sap green because it's, they're lighter. We want to use the colors from lighter to darker colors. You can't feel this is fresher colors that we're using. Lots of water and creating more pre feeling just by tapping onto our paper in a certain direction. Then we have to use Alyssa P care colors. And to increase the density of our color. This area, you can see my hand movements, how I'm adding the olive green here. I have to say actually in a very forward Bay, just freely use your hand and let it go instead of like force yourself. But make sure you look at it and see where I'm placing the tapping movement and how do I get It's not as I'm doing it. However I want. I have analyzed the reference and then applying it. What's a white spots out? Sometimes you need to spray and sometimes I get on it. So I'll show it to you. Which parts you need to spray on which party done. Right now, we are going through the T cells for now. It's okay to change your mind at some point and make sure like, where are you going to add less water or more water? You're adding more details. It this technique, wet on dry technique right now. Go through the entire forest area like the greenness next Tuesday mount. And then again, with the same technique, we delete of the brush. Just create some lines. Do you see how I'm lifting it? So don't throw away your brush leads. Now here is done. Now let's slowly, we're gonna go through the field which has a lot of like ocher, yellowish greenness next to each other. After we write the place, we're going to go through. Rest. Analyzing which areas needs to have same colors and which area should not have the same color. You can see that we're going to start with a light color and then gradually move towards the darker color in order to create first-year colors won't get dirty. It won't get muddy. And then this is the best way to show the dimension, the depth. Changing the tissue. Make sure you always have a lot of tissue next to you so you can keep changing it and also replace the water that you have. I have to say well done so far if you are practicing at the same time, which is why I always ask my students to practice at the same time. And so you can go through this journey together. Now, this clean everything, clean your palate. So a clean palette, clean tissue, and also clean water. Now we have to start using the wet-on-wet technique here. Now the spraying the paper. Again, cover it in order not to splashing on the other parts. Just enough that spread out evenly. With a dagger brush that we have my handball that's from where I start and how moving some parts, it has more thicker, darker corner because I'm adding more like here and some parts lists color. So you create the correct dimension using the tip of the brush. It's almost like tapping, but how I'm using it from left to right and give it some angle. That's quite important. Using sap green here. Any kind of natural occurring you have would be fine. As long as the cauda is similar. You can mix it with some lighter grains such as olive green, combine the colors with each other. Or even darker wants to go on it. The more you add onto the colors the dark hair day become. You can see we need to add more water because water gets dry really quickly. But don't overdo it plays combination of the old care and also Sap Green. Between sap green, olive green, and ocher, you can create the field. You can also sometimes use a burnt umber. If you need a darker brown. Make sure you have the white parts. You leave them out. The way I'm moving the brush and how which part I'm using a Slack sometimes the tip of the brush, sometimes like the direction of the brush, changes are all intentional. So I would be really grateful if you can follow the hand movement and also the direction of that brush movement. Adding more color onto it layered up Thomas spreading the sap green here is because I just watered it. Spread the paper. So I have more. It's easy, easier. You can move the brush onto your paper. Now these are the details. Bit more color. With this straighter line, you go on it. This is only first few layers. And when it comes to the details, you have to use a little darker ones. But with the same color. You can use the same ones because the other parts dried out. That's why I added a little onto the previous areas that we have done. Mainly lines and dots technique here. Look how I'm spreading some areas. You have to cover it using burnt umber. Next to the cottage that we have. Do not go to the cottage yet because you don't want to mix the colors in a wrong way. So we are actually coloring our artwork based on our model by tapping movements are certain. A handful beds. I have analyzed it before going around so I know which area you should have a certain movement and beach area should not have. When it goes further away, I added more details, however, came a little forward. I added more on wet technique in order to show like close up. Now I'm going around the cottage, making sure I'm using the tip of the brush, moving certain direction and apply more green onto the previous color. You have to notice that we shouldn't apply green color a little faster on the paper. Before we actually dries out. I just let the whole area to dry out and then added some of the trace. But with the same technique that I taught you in the previous tutorials, how to draw the trees. I'm doing the same and is left to right but in a certain direction which is going to go down. Now, this is like issues, like at tiny little details, details here. You also need to pay attention how and when I'm changing my brushes, which ones I'm using round brush and which ones I'm using dagger brush. Look at my hand movement. Does adding more greenness. Later you can make, do a mixture of brown and black. For some of the dark spots. I keep using the same colors. I haven't changed. So you can see with some few certain colors, you can create a very beautiful artwork. Don't think like you need like thousands of colors in order to actually color. To do a watercolor painting. Just tiny cell. Feels like branches we are adding. This is the same a movement. I'm just making sure to add some reflection as well. The colors. So you have to pay attention where we put sharper lines, which would be near the trees and some further away. Now fading the colors with with our brush. And if you don't like it, you can take, take off the colors with your tissue before they actually draw out our burnt umber, we're going to go around. Any kind of middle brown that you have would be fine for you. Here. You can see we applied a certain dots, start to make some soil with the burnt umber for the edges. Now here with the round brush, with a natural hair brush, we're going to go around, apply darker, denser colors. Look how the brush looks like. The reason I said natural because they actually, you can add a lot of details with that. Because of the tip of the brush like this, you just can make sure that your brush has a certain love, looks like it here. And then you can add lots of bush here. Lots of different green technique is like a cheating technique, but it's a good one. How we are adding them. I didn't some spray water on them in order to create a little wet on wet. But don't overdo it. We have to wash the brush at some point and fate, the colors beneath. This area. So it's the same techniques like wash the brush, use the tissue and then fade the colors from this certain area that we started and going down. It's the same technique that I use. You just have to look from adding the T-cells and follow along. So if we keep going back and forth between brownish and green that we have can be olive green and CPR or it can be all care ones. We did it and these are burnt umber. So it depends on you, which one you are using. Make sure you use different hand pressure here. Do not have the same hand pressure is not going to come out nicely. And then especially reduce the pressure on the edges, parse and fate the colors. Here. We can save it. Lighter color I'm trying to fade as well. And how I'm bringing it into color. I want to add the details a little bigger here because it's really for work. You need to see the details here. Look how and where we are adding more of this technique. If you can see it, is the same one just from bottom to the party. Unless it's like you're throwing the strokes, the lines, creating a metal here. You have to create the atmosphere. It's just not growing and applying the technique. You have to make sure you understand the colors, what it's like, what kind of colors you have is either cold or warm colors. And not just the colors like how you're applying the techniques and means to bring out the feeling on your paintings. This is what we are trying to achieve here as well. You need to enjoy actually paint and coloring it. Now we have to continue. Again using the elite of the brush going around. You can now see a little better how the highlights being created. Keep adding enough, but do not overdo it as well. Like here, you can see that you create highlights, but it is a perfect tool for this. You already bought it so you don't have to buy another tool. It just, it comes naturally with your brushes. So make sure that when you're buying the brush, they actually have lids on. Since we are moving towards the end of this painting, we have to add more details to make it prettier. So look at my hand movements, what colors we're using, splashing color. We have taught this when we are doing the galaxy techniques. You have learned it. But for this one, you have to even pay more attention not to overdo it just few lines, if you will. Like tapping would be enough. Have a look. Slowly do it like this term, aim, where you're actually tapping it. Clean the areas that you didn't want the tap and the dots to go. You still have the chance to do it because it's very easy to do it. Since there are still wet. Now we have to splash some water. You can see how your splashing. Just make sure you don't splash the areas that still watery because it's going to be a disaster. Water on water, it's going to go all over the place. You do this technique, be careful of your sky. Manually. We are adding some of the delta as well. So since we have some of the splash around, we just took it out. It was easy to do it because it's still wet. Now we are happy with this area. It's done. Now. The areas that we actually created the highlights because first we created the background, then we created the highlights with the delete, the brush lead. Then you have to go actually on them. You cannot leave it just the way they are in order to create more natural feeling around it spatially, around the highlights. Do not try to go onto them. If you are going onto them with even a smaller brush. Again, like the other parts that I mentioned to you, we should apply enough but not overdoing it. You have to you have to actually move your hand freely, but understand where you're adding them. Fill up this space even more. A little more details onto the area before actually starting some orange colors, warmer colors to go around here. Just not too much to the orange color you're using. She'd be more towards brown. So it's not like a fantasy because some orange, they're so bright is not used and useful for this here. Please pay attention if you're doing it with a smaller round brush. For some of the highlights, you can even use some white gouache around if you need to. And it depends on your model, if you have them or not, make sure you also clean your brush here. And then use it on the white garage for these areas. Again, like the previous ones, do not overdo it. Just a little bit. I'm going to use the brush, the same whiteness, but just a hint of it around. Sometimes horizontal asymptotes, vertical, depending on where you're placing them. Very, you can't see it here. After this, we have to add more outlines around, more details around the field. Either with like lines or certain and darker colors. Now we'd lighter blue, either a light blue or a cobalt blue. We're going to go around. And there is a river here, but we don't want to show it too much. So it should be very subtle because if you add too much of it is going to look like a natural. Like how I'm moving the brush hint of it would be a sufficient here. And therefore this area a little more, we will add more blue color here. Corralled, fill up the areas that you left a white. It should be around the edges so you could fade down. Now with the same color, a little ad. You have to add the second color. It go around. Again. We are using a round brush in order to fade away. And try this area with your hairdryer. Make sure it doesn't stay wet or you can wait for it for a few minutes, that's still okay as well. Why drying? I'm just making sure to fade some of these areas so they don't stay too raw. It's good sometimes to do multitasking while drawing to add some colors as well. You don't have to search and layer to do this. You can actually draw it and then do this or actually do add more details and then draw it. But from experience that comes, I prefer to do it like this. I do more brown layers around. At the same time drawing the middle part, especially the green part in the middle. Let me add that had lots of wet on wet technique. That's why we keep holding the brush on those areas. Now we're going to go around. For the last part. We're going to work on the cottage here. Starting with occur. It's going to be a wet on dry technique. This one is quite hard to explain every detail technique that we are doing. The most important part that you watch and follow the hand movement and the brush movement. Using darker brown here. Easily you can see how easy it is to actually draw the details. With fever like brushes, strokes, few colors. You can create a small cottage here. So slowly. We can add the rest of the wall and the roof of the the cottage. Here. You can see my speed has dropped because I'm going around the very delicate and the roof of the cottage here. So making sure the outlines won't go inside the the roof of these cottage. You have to keep, add, drying your brush, get to tissue, and then fade the line and then bring it down. You have learned this technique previously when we are going through their fruits tutorial is exactly the same technique that I taught you there. If you haven't gone through that one, please do so. Slowly. Give some textures. Now, just going through the techniques that we're using, I'm just going to remind you one more time. Now. Let me remind you again how we could draw a very sharp pointed pine tree. We need to combine the green color and olive green with a little sepia to create a very mature color. We add these two color in order for this combination and not to look wrong. Now, look at my hand Maupin home adding them. It will be great if you could watch one time and then repeat after me. The floor away and then the ones closer, slowly, left to right, left to right in a certain angle. Duties. So many times, it has so many different techniques on it. It has a certain hand movements. Then tapping movement is wet, on dry, and then layering. How you do all of them. A combination of those will give you the tree, even though it looks a little easy, but it requires practice, guys. So I hope you enjoyed this tutorial and I see you in the next one. For now. Bye bye. 8. Seaside harbour landscape: Hi everyone, Welcome back to another tutorial today, I'm going to teach you how to do it. This beautiful seaside harbor landscape. Look at the AR model, how it looks like. We're going to learn lots of techniques and landscape that includes water, sky, faraway view, and also some buildings. Before we begin, we need to think about everything such as starting point, the colors we must use, and so on. You need to actually dedicate your time and consider all these points that I mentioned before. I actually start drawing it and color and get the techniques we're going to use a lot of wet on wet, then add dry on wet and also dry on dry. We're going to use all of them. For this guy you have actually learned before what to do for this guy is a lot of wet on wet technique. We talked about before. And I have taught you how to do this guy in the previous tutorials. Then it comes to the sea and the fervor landscape, and finally returned to the building and the details. So this is almost for most of the landscape that I do. I usually follow this. However, it all depends on your model. Make sure you have everything you need around yourself, like all the colors in your palette, clean your palette before starting, because the colors, the previous colors that you have used can actually go on to the new colors because watercolor gets fresh after you use some water on them. Now, make sure you put some spray water on them. Plenty did your tissue and then voila, you have a very clean palette. And now after you claim you have to understand the colors that you are going to use. I have already taped the drawing, our paper onto this it a certain tape. I have taught you how to do it in the previous in the previous lesson. So you know how to do it. After you've made sure that your paper is not going to get away, run away from our from us. But we have casted so so much like I used to tapes on this cardboard. And then after that you can use kneaded eraser and go on the model that you have drawn before. So the models that we draw usually takes a long time. I have actually, all the outlines are available for you to download on your downloadable resources. If you go onto your assignments and projects, you will see all these outlines there. I put two. They exist in, uh, in two ways. One, the grid version and one the outline itself. So you can either print it out and gets held from it. Now, I'll tell you made sure the why we use kneaded eraser on the on our pencil is because the Panthers should not really show a lot underneath the watercolor as watercolor colors, pigments are not that strong. They fade away really quickly. Now, after that, we're going to start Our with a round brush and a dagger or soft brush. We're going to start the disk guy with unread. So we have two As always, spray the this guy which I have done it even if it didn't show in the previous tutorial I showed it to you or how we should spray it. We're going to use some yellow, cadmium, yellow, pale, and some blue mixture of them. Now it's important to see which color I'm going to use first. Again, I'm just going to refresh the water spray ones. Make sure you're even it out if they are not even. Now, look at my round brush. I'm using such a big ones so quickly before actually be let the paper gets dry. We have to go on it. Our sky is a little bit sunny. So here we can use yellow color or even occur. For some parts. Are scarred, needs to do paper needs to stay really wet for this area. Now, let's see how I'm gonna use the yellow in-between palm of my hand movements, using them and how I'm going to fade them away. After I put some pigments, some yellow pigments on them, I dry the brush with the tissue. I keep drawing it. You see then feta. So this is the same technique like clear your brush. Use your tissue, then fade the colors. Now you can go around the edges and fade them more onto each other. So I'm going to teach you another technique here, which we didn't learn it in the previous tutorial. Look at the second layer of the blue that I'm using here. Now because we have such a wet on wet color, I'm gonna use my cupboard and actually kinda let the paint to actually move itself. And they go to the complete left side, is going to become so natural and more beautiful. Have a look house. We are doing it. Keep moving your cupboard. Keep it like that. With a clean brush. Make sure that you're fed. Never. Use the previous pigment. Keep holding it like this. Please. Pay attention how long I keep the corporate lactase and then clean the edge because all the color is going to go towards that area with your tissue. But be careful you don't overdo it. Let it let little slight more. So that part that you use with tissue doesn't stay wide. Our sky almost finished. We're just going to go with either purple or violet at certain of have to save the shadow feeling onto the sky. This look at it, how it looks like. Going around. Just, just tapping. And then you have to read a clean brush. You have two feta. It's quite easy to draw. I did receive a lot of comments, a lot of requests from my students that they needed to go for watercolor course and also a sky wants especially. So most of the artworks I chose for this course, they do have sky. The next one, the last few turtle will have a certain different fame. So look forward to that one is white, I kinda, kinda one of my favorite ones. Now. See the last part for this guy. Little add more layers onto it to make it more distinguish. The reason I cleaned the plane around it because those water drops can actually go on to your paintings, so you need to be careful of that. So after we made sure that is strike out, either you have to wait for it or do I fit your hairdryer? We're going to go through the the sketches, making sure all the sketches are done quiet according to our model. And then make sure if there are two visible, you can use your kneaded eraser random. Now have a look. We're gonna go through the C part, the water part of this area, making sure that the spray enough evenly you can draw to see with both angles are natural hair brushes. So here we are going to use a natural hair brush to work on the bottom parts and the angled brush, the dagger brush for the top to play for the next layer. So we have to you have to make sure the brush is wet a little less than when we did for this guy. We use the same ultramarine blue color as we had it for this class. Well, since this guy and to see their reflection, as we have had it, we all know we have to have a little yellowish color as well. Their first we are going to apply a little yellow color to some parts. As you can see, this much is enough. Then start with ultramarine because that would be too much because cerulean blue, we want to show the reflection of this guy here. So you could have used cadmium yellow, pale yellow, the blue, and then apply it with free hand movement, completely free, watery. The column, just getting rid of some of the too much colors with my tissue. Again, we grab some color and apply it with this hand movement that you can see on the screen. Notice that this part is also part of the sea. This part. So follow the lines and try not to lose them while working. We must also pay attention to the sketch as well. Make sure you don't lose this sketch and very everything she should have been placed. Now we're going to combine the colors and apply them from Boulder, a little darker color to a lighter color. You can use indigo, ultramarine depending on what kind of color you have. Coulomb doing is like completely wet on wet technique here. See how it's actually they get mixed with each other. The previous layer and this one, how I'm using my hand and brush movement is quite important here. I hope you can follow at the same time I'm practice. In the last stage, the color should be thicker. In fact, further we process the denser, the color should become. Even. We don't need to put the brush into the water anymore for this area. Just the color itself would be sufficient. You can see I'm getting it directly from the from the set. Me moving my hand. I'm not applying all over to some areas living some highlights out. The highlights means the first blue layer that we did. It shouldn't be white, but it's the blue layer. When we actually clean the brush, we can, this is the technique that I hope you understand from writ on wet technique. You want to have some white highlights. So you keep cleaning your brush with a dagger brush. You just take it off like this. Very easily. Have a look one more time to create the waves. Make sure you do the same hand movements in caribou base. Again, the reason I clean, I don't want those splashes to go on to the painting later. So we keep adding layers where necessary. You can see Venus comes more forward, especially the bottom part. I'm adding even more color. We can still make it bolder, however, I think that's enough for now. Now, drawing some parts using the hairdryer. Now, after this, the next stage that we are going to work on a should be a far away landscape. So that's quite important. We have done this guy, the sea area, the water area. Now we have to go through the details and a far away to create a distance. So we are going to use olive color. We spray a little water from the distance before actually starting. So make sure you're know which color you're going to use. And that you are going to apply this play sprayed without making it too much onto this guy. Now, we have some, we can see on our model which area we have to use. This area we have to start with the same natural hair brush like a very big one. I'm going to start, you have learned this technique in the previous tutorial. See how I'm actually tapping. Look how uncovering to see with my hand. Tapping war should be from light to dark. So we are going to place the first layer leaving some white highlights. And then we're going to add more layers and add darker layers on top of this one. Keep applying, going around, making sure all parts cover. Look how I'm mixing the colors together. Now. This is almost a second layer. After we are happy with the first layer, do not add too much at dark color sepia just to air as long as you mature the color, make it look less. Raw. Minutes comes to these kind of actions. We have to really do it fast before it dries completely dries out. Mixing the color is quite important. So do it as fast as you can. But when I say through it as fast as you can, it doesn't mean like through it however large, it feels like it's good that you've watched the video and make sure. Follow where I'm putting the colors. Now with the tip of the brush, I'm trying to add a certain kinda pine tree feelings. Look how I'm holding the brush. These brushes to be used, they're available and one of the best brushes for dagger brushes. So if you get one good one, you can use it for a long time. Just make sure that you wash it and take care of them. Whenever you're finished with your artworks, especially oil paintings. Because I do have courses, oil painting courses. And one thing I advise to my students is to take care of your brushes. The reflection is quite important as well. Make sure that before it's completely dries out, you bring down the colors a little. Now we wait until it gets a little dry. Then add some darker parts, such as the stains and lines to create the feeling of the trees from far distance. Here we just need some like dot feeling. You'll see the dots are the stains. What I mean, Like this one. And some smallest strokes lines. We have to make the border line Elissa darker after this in order for it to be more visible. But again, let's not overdo anything. Slowly going through this smaller part. It's better to do all of them at the same time because when you let the colors dries out and then you come back to it, it gives you a different feeling when you start drawing them. So it's good for a certain area. You complete that area and then move to another one or have a risk. However, since one art board is gonna take like one hour to draw and color, I suggest that you actually create that time for yourself so you can finish your drawing in one sitting. You can handle went home, going through the rest of the details. Because the area for the buildings, Dr. B. And we have to add lots of details. We need to have a dry surface. You can find this outline from your assignments and projects and download them. So you can see at building more precisely, I have placed the reference there. Back to the blue that we use earlier. I changed the approach to smaller, one round brush, but much smaller. So I can create the details, but it look how I'm going through the outlines. Some areas, I add some lines, and some areas are just leave it out. So they look more natural, especially from a distance. Whoever is really interested in line drawings, or I have to say like architecture and building drawings, either refine liner or watercolor. I read, I do have those courses. You can take it out. Or if you don't know where to find them, just message me directly and I guide you to the right course so you can watch those as well. You can see, I'm not using a lot of color just as much as needed in order for them to be visible. This is the shadow area with a lighter blue and a darker blue completely I'm creating the distant building to carry part of the roof. I suggest that, um, I hope I'm not wrong, but I believe that this is landscape in Turkey. If I, if you recognize the landscape, do let me know various it. Say I will love to actually tell my students which area they are drawing and painting. Now let's add the details with some white gouache. So I'm using the white gouache. You have to make sure that you clean your brush before applying the white ones, white details because we don't want to mix them. And even after you're done with the white gouache, please clean your brush as well. See where I'm actually applying down the details. Follow and placement. Now, just change the brush. You can see I keep exchanging the brush, the one that has the white quash and then one doesn't. It's only because I have few brushes. If you have one, only one or two testifying, like one decides, one, add the natural brush that I'm using for the bigger area. What would be sufficient for you? So you don't have to buy like ten brushes for yourself. Now, let's go through this area. Since we are done with this pond, the right part covered, bigger hand spray it. So it doesn't go to the link and the right side of the artwork. You can see how many colors I'm using. Basically it's like one yellow, two blues, and two green. That's it. For now. You can obviously use more, which I'm using a few more. However, if you had those colors, that will be enough. Continue the same way that we did on the right side. We sprayed first from the distance of brush can move smoothly on the paper. And again, starting from the light and watery color, I started applying the olive. Now we're going to mix it and keep using tapping movement. It's exactly the same technique we did on the right side. Don't forget to leave some white of the paper for some highlights to remain. So this is the next stage that we are adding the details around. Look at my hand movements, but I'm adding even some small parse that I'm just going to mix a lot of difference, especially when you're looking at it from a more near side. So again, you can do the board and align with the white gouache if you if you have it. If you didn't have it, just leave it out and you didn't have the white gouache. If you had it, please do so, but it's better not to use any white watercolor. I don't suggest acrylic, white acrylic, but that can be an alternative here. Let's go through the reflection onto the water. With these movements, especially with a dagger, brush is the best. So it's up and down, then left to right. That creates the reflection slowly than we have to use the hairdryer to dry the green areas or you can wait for 20 minutes. So it's really your decision which one to go through. Both. It's both would be fine. We will have more visible reflection later. Really wanted to teach you how to do a lot of reflection while doing this artwork. So after every drive the artwork with our hairdryer, I'm going to draw two boats. They have a very good visible reflection for you to see it. So now, if you're ready, let's go through more details. One here, and one would be more in the middle of the river area. This area, I'm a pushover, is this so let's have our tissues ready. Us make sure that it's like few layers of tissues so it doesn't break easily. Put it next to you. Our main signature technique for fading the colors would be wash the brush, clean it with the tissue and feta colors. It's good that you memorize that you keep it. We just going to refresh the colors with our spray. That's another technique. It's like these tips and hacks like gonna really makes your worst to go faster. Now, let's go through the first small boat. Here. Hi, I'm gonna point it. I'm just put the reference next to me so I could see where exactly I have to paint consistency. Sketches are gone. So I have to redraw down with just straight away with our brush but with smaller dagger brush. The signature technique, dry cleaning with the tissue. And then fate the colors. White brush. We can grow on it to reduce some of the colors. So while we continue, unfortunately here the camera didn't record the reflection of the boat. However, we have one more both reflection that I'm going to show it to you how you should be done. So while we are going to complete this part, please look forward to the other boat. However, this go through the details of this one. Straight line. You can see that I just put like inconsistent strokes after one each other and small red flag. Still using the same brush so far. Now let's go through this one. Without actually moving forward. We're going to watch the whole process. Here, just following the handle Benz, quite important. I'm putting the outlines and also how coloring it. Slowly, clean the brush, fate, the colors. Combine down. We've got the white gouache and I'm going to use the reason I use it, I need a more solid base and more texture wise base for this one. These are all Tips and Tricks. The reason that I prefer to do lots of art rocks and then apply all the techniques onto those rather than just teaching you the techniques is just why looking at where those techniques can be done, It's better than just doing the techniques on its own. You're going to fade it even more like a what for, for this watercolor painting. And also to add more shading onto it, as we did previously. More watery color here. Now let's look at the reflection, how we did the previous one that we couldn't see. Let's have a look here with much darker color and in different areas. I tried to create the reflection. Don't forget to keep some areas out in order to have the whiteness, the high last left more naturally. Use, I'm going to use LSL, ultramarine blue here, darker blue are the details of the boat. I usually don't like to exactly do a replica of what we are having. So it's good that you have your own touch, your own ways of drawing there for I really looking forward to seeing all your practices, to see how yours is going to look like. Please do send send them to me so we could go through your progress. And the paintings that I've done with the techniques that I'm telling you. The details here is quite hard to explain because you need to look at the hand movements and they're exactly on place in the colors. So let's follow a lock and repeat after me. At some darker lines around here, the second layer. And the line, the borderline between the bottom part of the boat and where the line actually meets the water. Having more details on the sides. We have to continue drawing the details like this. I keep using the same and dark blue. So you need to have enough color and enough water onto it in order to create this density. How holding the brush is quite important as well. Using some white gouache on areas. Just give some highlights. Create some highlights here. Look how it looks like now, it looks more forward because we are using lighter colors. Comparing to the other boat. Is either indigo or ultramarine blue. Both would be fine for this one. Just choose one and keep using them. We have to do more fading. Now we need to dry this part of the cell since we need to put our hand here. If you need to hold a part of the paper, and it's been already, you have used watercolor on it. Really lucky. Few seconds ago. You need to draw it out and then put your hand or if you need to. So why did we are getting to move to the middle part of the building, the main part of our drawing, actually, you're going to use some different colors. So let's look at the colors I'm going to mix together. You can either use some cobalt or indigo. So this is again, wet-on-dry technique because our watercolor is very, we put some water on it and we're applying it on a very dry surface. Make sure you do it in the most delicate way possible. The lines drawing is very important if you really need to practice it on a separate paper and then applied on your main models. So your hands being warmed up while doing those broken lines, while you are drawing those broken lines. And to beginning, this is a good point actually, I did, I forgot to mention at the beginning. So if you really not sure about some parts, about the amount of colors you are bringing onto the subject is better that you try it on a separate paper and then actually apply it onto your model. Now the right side has more darker color and the left should fade away and goes to our lighter color. In order to create the dimension we need to. Whenever the model has some stains, we need to create those. You've watched the brush completely and then going to apply it here because we cannot bring so much blue here. At the beginning. You can see some yellow ocher color on this side of the building as well. Decide. So let's see how and what kind of colors we can, we can mix. So this is like the final stage. We can see how easily in half an hour we achieve so much. So far. You can do the same it just if you watch the video a few times and practice at the same time, you will achieve the same results. We have apply some watery surface, but we have to go and we're going to draw in a more dry, a bit more color. We can hear the colors. Make sure every time you are applying a new one, you wash the brush. Pride and faded colors. Just hint of luck. Dark indigo add the darker blue that we're adding here. The line should be very thin. Don't bring it too much color for the pen lines. And the broken line technique again, given for these areas. You can see I'm just mixing some of the colors at the same time, some dark blue ones and a hint of green. You don't have to make as few colors together. Just one darker blue would be enough as well. And going through the windows, some areas needs more detail. Just with those simple, broken lines, you can create a lot of beautiful windows. So you didn't need to actually draw crazy windows in order to create them on your painting. So keep looking. Which part I'm adding the details. First. I have to determine which where are they and then go back onto them and color more if needed. You how to use the end and the tail and tail of the brush sometimes. In order to draw the details like this, look, there's no need to put is completely into the water. Just keep using what you have. When it gets a little drier. We will add darker spots here. This is almost a second layer of details that I'm adding, trying to go on them and slowly add more value onto it. This kind of line drives very important because the turbine between an intermediate or an advanced level. He has, he has spent like half an hour on the whole area. Does the sky, the green parts, the distant building, and the C part, an hour just on the building. So see how much time I'm actually adding, putting for this building, adding more value onto the lines. And if you put too much, you can also clean it up with your tissue. Take off some of the pains. For this part, again, we are going to use some ocher and yellow colors using better wet and dry technique. Going through the first layer, then next to it we have to apply some scarlet, red or darker red in order to create the roof for the rest of the building. Here, after we have either use ocher or a mixture of yellow color here, we have to go through the outline that is close to read. Any brownish, yellowish pigment that you have. Fading the colors. Because when you put a certain color that it has some value on it and it's very bold. You need to go on in and faded away like this. This painting is quite important guys, like make sure you actually apply it and work through it. It keeps fading. So now we have to choose the roof area. What we are using, a mixture of like maybe burnt umber, cadmium, orange, either scarlet, red or a light read. All of them would be fine. And the colors that I'm mixing, I'm hoping that you can figure out those colors by dy, the brand that you have. If it's the same brand, it's perfect. It's the color has been mentioned here, but if it's not, don't worry about it, just try and experience your colors. You also have the reference. Hopefully you have drawn a paper with the colors on it as your reference. And you can go through with it. You can look at it and see which color really closest to the ones we are using. Start with a faint yellow. Just to cover the whole surface area for the roof. So it's just between like very dark and highlight orange. Keep combining the and the colors and create the textures now onto the first layer. Now I'm just creating some parts from my own imagination. You really have to follow what I'm saying. I think it just after a while, you can ignore your preference and to do some creativity, but that's comes after you have gained some experience. Now faded details with your brush. Hint of blue, not too much. It just enough that make your outline more visible. And it does reflection, a color reflection of what we have on to this and this building. Putting some darker spots with either black or a dark brown. If you're new to watercolor, I suggest don't use black, just use darker brown so you can have better control on it. Even a lot of instructors they advise, and darker brown rather than a black. Especially when it comes to beginners. It can be controlled better. Now, keep adding the second layer and faded colors. We need to shape the whole parts. If you add too much. So if you have to understand how much water and how much likely pigments we are using on to these areas. To shape it. I'm going to create some details. Some spots, more or less. You can see it there's a divide, a carry divider onto the roof. These little details very enjoyable when you figure them out and you draw them. While actually I set this part is very enjoyable. I am looking forward to hear which part of this drawing it's enjoyable. Is it the water parks, this guy parts, the green parts, or even the building that you really enjoy to draw and you want to continue. Because and if you let me know, I can create more tutorials for you guys and add it onto the course for you. Or send you a more links towards other tutorials that I have made sure. If this is your first time doing a complete artwork, you'll keep washing your brushes. Don't bring the previous color because it would be really hard for you to control. You have to apply the dark horse gradually. On one level it should get faded. Unlike the other part. Also, you should get dry because if it's water and water is going to go all over and it looks messy. Starting drawing the windows like this. Fade down. Whenever you draw, make it, make a habit out of it a certain way. The line being drawn, you need to fade it after that. Do not let it stay there very wrong. At least give it some dimension with fading it, I'm not saying fate, the whole thing. It just gives some fading feeling onto it, such as here. I have to continue this process and show you the rest of the details here, how we are going to complete the other side of the windows. It just have a triangle with two lines. You create them. Then you have to fit them with a cleaner brush. Make sure that you put it. You clean it with your tissue. Your hand movements is very important. How from dark cutters you go to the light colors and how we wash, dry the brush, and then continue fading. It is very important here as well. So please follow all these techniques, all these tips and hacks. Actually that you can all find it unlike all of these techniques in one lesson. So I try to teach you how to do the sky, to see how to lift the highlights with brush, how to fade down. Just like all the watercolor techniques actually exists here, except the, except one actually, which I'm going to do it in the next TO terrier for you. So please look forward to the next tutorial and our final one. And so we're going to continue this one. Add more color value to the door. Window. I cannot say door or window. You can see I just refresh the watercolor pigments with our spray. You can see how careful I am going through the reflection of this part. One more time. Let's practice a repeat. Another reflection that we did for the previous, both anti-A first proton. You actually couldn't see my apology for that. I got my hand movements. Have to grab a little denser color, darker color, make these edges dark. How to use while they become a little bit dry. So the moment that you placed them, they can become dry. So don't worry about that. You can add onto tomorrow at hint of blue around it as well. I'm holding the brush. This way. I have the most control over a desk, a fading parts, especially I'm using very dark color. Not doing more details around. So far, we are using the colors on the palette to draw the color. The details has been mentioned earlier. We are not going to follow hyperreal method and draw exactly as they model. So it's good to have some creativity, some points from our own region. So let's draw the details based on our own taste. For example, we can use lethal white and fill different parts and put some stains like I like this here. Good at the beginning to actually have the reference and follow it, but you can actually follow from your own taste. I always like to add some highlights with the white gouache that we have. Slowly go around. That's going to add some of those since I have the brush, I'm going to go around. So you reach parse really needed an add those little details of the whiteness that we need to have. We have to look around to see what else remained. Again, we're going to use add some darker color to put some dark spots here. You should do it very gently and carefully this area, because if it's too much, now if we have the overall shape, but if you do too much, it's going to looks like it is not going to look good. These are the last details that I'm adding. We are almost done with this artwork. So, so far I hope you really enjoyed if you have any questions when it comes to any of the parts of this painting, please do text me and message me. I'm always online to answer you guys. And it would be lovely to see your project, to see how your assignments being done. So we could follow and see what can be done. What's an expert app painting we should go through or the, the results coming out. What can we do to make it better? This is the really important building part that we're going to draw. I'm going through the Lighthouse, which would be the main the main part of this drawing. Some parts it has a darker yellow or red, and some parts it shouldn't have. Just following the color mix that I'm using. And they hand drawing. I dare I say lantern or a lighthouse here. We, first, we have a little occur from light to dark. It doesn't matter if we cover the lighter parts, bit darker hair because the dark color can cover them. This is a wet-on-wet method. The inside of it, we have to make sure we fade it. Like here. This is how to create a highlight. Wash the brush and dry it again, and then you use it. Any kind of event occur here or yellow dabbing, okay, to use. Now we're using some white gouache on it. Let's have a closer look at, look at this line is not continuous but interrupted, less shaky lines. It's not really shaky lines, It's just interrupted lines. We had that on all over and this is actually a good method even in the future. I use it a lot. So you will see it more in other examples that we have added some remained green colors. We don't have to do it, but it's good to add the areas that we want to. This is the very last details. I'm adding. The lines, especially the faraway wants, needs to be interrupted lines. Your brush barely touched the paper right now. In a little while, we're going to, after doing some more reflection, we're going to draw some cute birds on this guy. So how to even to draw birds? Let's have a look. You should have the Arab use the tip of the brush. Again, my hand movement, I'm gonna do it. You have one chance to do this, so make it right. That's it. Let's do one more, smaller one. When I'm drawing, I, my, my voice gets even lower because lots of focus. So I hope when it comes to this part, you do have loss of black patients and take your time doing it. So I hope I see you in the next lesson and enjoyed this tutorial. Any questions do let me know and I'll see you in the next lesson for now. Bye bye. 9. Spring blossom door: Hello everyone, Welcome back to another lesson. Today we are going to teach you this is beautiful spring blossomed door. So we have our model here. You do have access to all these references on your downloadable resources, either projects and assignments. We're going to use bet on red and also dry on wet techniques. Not just those, I'm going to apply a lot of very new techniques today. So now let's start. So all we need to clean the palate and remove any possible amount of extra water on it. Because if it's too much or too less, it might really affect our main artworks drawing. Since this is very advanced level, we have to dry the brush with nice dry brush at the beginning and clean it completely. We are going to use an angled either every call a sword or dagger brushes. It depends on the website you're going and then use it on these areas. And also we are having a natural hair brush as well. You will find out all the color names that I'm using on the screen because sometimes I'm moving fast and you need to move fast when you're doing watercolor. So I advise you while I'm moving fast, you guys move your hands as fast as this as if as possible. So let's go through the water spray. I'm gonna just evenly water spray the whole area. And let's start how I'm going to use my hand. This is wet on wet technique because I just put a lot of water on the screen. It is called tapping, but I'm just going to fade everything away by our signature technique, your cheese. You have to wash your brush, clean it, and then fit their colors. You should be familiar with these techniques so far. We've got the part of each part of the, actually the brush I'm using is quite important. Now you focus on the details, all hand movements, brush movements, and placements. I'm going to leave some parts white and we make some parts are lighter and some parts darker and try not to make the door looks dirty. So if you have too much color, just without knowing the reference is not going to look natural. Look, I'm using them. You can see it on some areas. I put denser, more color and some parts I'm just going to fade those colors. Have a look going from sometimes from bottom to top and also left to right. Because this is such an old door, we need to actually create that feeling. Classic, old-fashioned door with like kind of very rusty colors. We need to create those feelings. Now we have passed, we know all the techniques, we have lockdown, few landscapes and lots of different subjects. So it's time actually creates the feeling of the subject. And our model. Look from where I'm using my, now I'm just a spray of water but I lock going onto the door because I don't need that part to get a bit for now. I'm just putting collars quite important where I'm adding, moreover, I'm adding less. We have to work in sequence by segment to be able to create this feeling a dark and light space. So of course, this is the first stage in which we use this color. Now we have moved to a little another color. You can use burnt umber or sepia depending on what color you have. Make sure you're satisfied with the color. We are going to tend to keep that some of what parse. So I'm going through the line details. Look how I'm holding the brush. Please. Hold a dagger brush like this. This creates the broken lines. I have to say there is not a consistent line and just bring out the color a little towards the right. So we draw this part in a more, add more color. If I say a thicker color is means we are adding more color off the same color in a driver now, because the previous layer, a layer is almost dry. It didn't have that much water on the underneath. Now I'm just adding a little towards the the line is a little broken. The left part, you have to make sure that you create that dimension on it. So the drawing of this is quite essential. All the drawing parts available for you to actually go through them, download them. You can see that I use lots of tissues. And then you can even pick up the colors with your tissue and create that feeling. You apply the brown color, either sepia or burnt umber. In a linear form. Look even so far started have a receiving the feeling is getting that feeling of old features that I'm intending. That I feel like it should be done this way. Adding more colors, same areas. We need to create more textures, more and more. Because now we are in that level to do this. So have a look in-between the lines. I'm just faded colors and create more depth. You apply more colors. If you can see it's way dark is because now it's almost on dry. Layer is not wet anymore. I have to say when I said a wet on wet on screen, it was actually wet on dry because this part is not with that much anymore. It has some feeling of it. I'm not gonna say it doesn't, but it's almost past that part. So it is between wet on wet and wet on dry. You can see the color gets a little goes around. It's not a 100% dry. So we need that moment. So it's not that dry, is not that pit. As you can see watercolor, when you're actually advancing through this medium. It really depends on timing as well, because you know the technique, you know how to use the colors. You know how to everything combines. And however, since done now is just your hand movements and the timing, because in just few minutes, if you forget about an area is going to dry and it's not going to give you the feeling that you want to. So you have two widths, that area again and in might, you might need to add more color. So the color you intended at the beginning is not going to be like that. So the timing is quite important and essential here. Creating more texture as creating more lines. Different hand pressure here, sometimes, a little more, sometimes not even. So it feels like a broken line. We have I have taught you how to do broken lines previously. I'm still using the dagger brush. I just cleaned it because it had if you read it, I'm pretty sure you realize the brush the Bristol parts like kind of far apart. They need to come together for some areas in order to create a certain neat lines. Like now at more spray. So it becomes wet on wet technique. You can see how because the surface is Elizabeth, how the color spread around, but not too much. This is exactly the same thing I was talking to you. Now we're going to fade the second line here. And then go towards the first-line. Again. In order to fit these colors, you need to dry your brushes than ever. You need to fade down. Let's first of all, apply the color one more time. Redo, redo the color. You can see it's kinda spreads around just because the surface a little wet still, but it's not too much, so it goes around a lot. Again. You're washing, drying the brush in order to fit this here. So you just didn't see it, but I clean the brush on my water cup and then dried it with a tissue and then applying it here. So every time I'm doing good, I'm gonna mention that I'm doing it. So when I say off, I'm fading a certain color. It means you have to do the same thing. You don't have to, but you'll see the result is going to be different. So it's good that you're actually experienced both doing it and not doing it and the difference. So we spread the surface in order our color to go around a small pair. Slowly, are very old blossom tourists coming out. The colors getting there. It should be, this area should completely be read. The whole brush is nice to have lots of color on it. We have to apply darker color. Usually, almost every time we apply light colors first and then dark ones. So if he asked me which ones you should put first, of course, the light layer, the lighter layer, the first layer should be lighter. Now we go on it again. My hand movement from which, which part of the brush I'm using, how many times I actually redo the colors and putting it on my palette API we really create that you could actually draw and practice and color at the same time, if it's possible. If you want to start and you don't know how to start, I'll just ask me, I'll guide you through the brand you want to add to why. The first step that you're going to try, even if you want to watch. Before I start doing it, that will be lovely as well. You can watch it learned and then asked me, Okay, Now we are ready to buy the medium. Which one should we go for is, are the ones that I have, is sufficient or not. And I'm just gonna guide you step-by-step through this medium. I do have lots of other admires watercolor techniques. So many different examples. Like if you do have botanicals, like just flowers, landscapes that's focused on water landscapes focus on forest. If you actually looking forward to learn a certain subject, just text me and I will guide you through those videos. So have a look now and continuing it. Redo the colors. I'm using a smaller brush. I'm not sure if you noticed or not. However, another dagger brush, but a smaller because these areas, the previous brush, was a little bigger and it was hard to control it for smaller details. You need a smaller such as like number 12 or four. Depending on what brand you're buying. Each brand has, their number actually can be different. Not all the one brush number of ones are the same. So please still have a look at my hand woven as how I'm using the colors, still using the same colors. One of the points that I'm trying to follow every time you are doing a certain painting. I tried not to use lots of colors. So if your color palette, if your watercolor paints it doesn't have much cutters. You still can actually go through this. You just have to be a little more creative and use a certain colors to get close to these colors. So previously, we finished the area, now they have to actually dry it up. Make sure that the way you are holding the hairdryer is close but not too close in order to burn the paper. Do not use too much hot air. But just a medium, one not called, not really too high. If he, if he could do a medium. This is actually very, very cheap hairdryer that I got it as a present on a shopping mall. So anything you have and you can use it. Okay. It's fly. I literally didn't buy this one and I got it as a present. So I'm still happy to use it. However, at some point theory, some of my courses actually stopped working. So I don't have this. In the next step. You should apply the same color with a higher density. We spray a little water here and we're going to use burnt sienna and raw umber. Mix the colors on our palate. Then we're going to apply the also using yellow ocher. If you didn't have yellow ocher, does finance value. You can use any kind of all carer or a light brown that you have from your set. So make sure you have your tissue next to you. So you can clean the brush and fade the colors. You can see how perfectly the colors are being faded. Now I'm just going to add a little more colors in-between the app, like the colors to some parse. So it becomes a shading feeling to create more texture. The texture is quite lovely here. I'm very happy and I really look forward to seeing your assignments. I'll have a look here. I'm just going through making sure everything's nice. Everything's a place correctly and fate, anywhere that is needed. You can use burnt umber or Sienna. Slowly just retouch the areas we distill with our small dagger brush. Because the area is quite dry. I just need to spray a lethal even though we have dried it, but we need some powers to have the feeling. So I'm not just a spring, too much justice area. So we have to wash the brush here. You can see it has a little more water on it. I cannot bring the COP the water cup underneath here is quiet like a very crowded. So I put every time I'm doing it, I'll let you guys know. Now I'm just using some water again. At some point you will realize yourself and you have to add some actual water from your cup. So have it pooper. Now I'm actually coloring in-between. It feels like we have created this space, the correct space, the correct area for us to actually color in, like how we used to do when we were little k. So now we actually created that area. Now Richard Susskind to go in and color it with different density, with different hand pressure. So the middle part, you can see what's darker and venue in today. Right side, it was less dark. So we change our brush to a round brush in order add some details that they will feel like dots. And actually we could blend them better. We have better control over this one. On these areas comparing to the sort, the dagger brush. Have a look how I'm just adding some color, some parts, more, some parts lists. And I tried to be a little playful with the colors, a little messy around. So like here, we create that old color feeling. Adding a little more cutter. Maybe it's sometimes hard to play. I'm just trying to have fun on these areas. You need to have fun when you're drawing. So some parse add more, sometimes less. Do not put pressure on your oldest part needs to be exactly like this. Now it's wrong because it's not like that. No, just try to have one. Even though I have the model next to me, I'm really not following it that much. Just a followed the essential point that is going to turn out correctly. But when it comes to the creative part or parts, the way the amount I want to put it, I'll just do it from my own imagination. So you can see which part is lighter, which part is being done darker so far. Makes sure that you go before here, you wash, dry the brush, and then go to this area to add details. As I mentioned, you have better control over these little details we are adding right now with your round brush. I'm just adding a lethal pressure. You can see how much cutter came out of it. A lot that we need this very dark brown, so don't be afraid to use such a dark color after, because this is almost our second layer or third layer. So it is time that we go onto it and apply this amount of dark color. Just if you know you have the right color and rice brush. And you have already placed the previous layers because you need to build up so it doesn't look RAW. Now it's time to add the dark ones next to the line, dark hair. And when it goes out of the line, further away from the line, it should be lighter. So far I'm really happy with the progress. We are getting there. One thing I would love to mention so many times, and maybe I've almost told all my students in the top patients, you need to actually have the patients, even the watercolor is a fast medium, but it doesn't mean you have to do it so quickly. Some areas that we are doing quickly is because before it gets dry, we need to do it. But for you guys, I would love it, especially when it comes to the drawing part is the very first outline. Take your time and make sure it's done pretty similar. So when you color is not going to look a little weird and distorted. We can slowly move to the next part and I'm quite happy with the area. Let's stop here and began to dry. The area. Starts drawing, coloring the blossoms and the lips around it. So they all have the same technique because when you are doing these blossoms anywhere else, like another model, you have to apply the same way. So what we're gonna do it, the first layer we're going to apply, which is like not too much details. We're going to draw it and then we're going to apply more darker color onto it. Now let's, let me show you to how it should be done. Look at first. First of all, we have to actually clean our palette because I'm going to start drawing very bright colors such as red and very bright green. If you are doing such a bank, you need to actually clean all the brown, blue away from your palette because it's completely destroy the painting. Just make sure that you analyze your colors. And Ryan speech part is darker, Beach part is not, for instance, the color of the blossoms, the flowers, some areas, very dark areas. We have lots of highlights on it. As always, prepare your tissues, make sure that you have them next to you. Double or triple layers would be much better or use a kitchen towel. Now, we have to clean this area. Just make sure it doesn't go onto your painting easily. Get all the colors. Because simply especially if you're going to go and draw a sky, I really advise you to use very, very clean and making sure that the color has been dry because a little pigment left on your palate can destroy the whole sky painting. Making sure the tape still there. Because if you don't take it properly onto your either desk or board, it's going to pop out and it's not going to actually looks good. However, I'll tell you more about papers later. Let's now start using the colors, the red colors that we have. More similar. When you have red, you need to add maybe sometimes a little orange or making it much lighter. Now, what I decided to do, I'm going to use much lighter bread for the first layer. You're using natural hair brush. Now, we have to create the combination of pink eye color mixing rose, madder, or any other. A little bit of scarlet. Red color you have would be fine. So don't worry about it. Now what's important is like my tapping movement. The **** I'm going to add them for the first layer is quite important. Even as the first layer you have to go through it. The color should be very light, but still it needs to create the texture. Now fading the colors. So tapping placement, I painted at the beginning. Now I'm going to fade down. You just need to make sure that your brush is dry and fate the colors containing the first layer. Making sure that every time you want to fade, you clean the brush and get the water away from it. You can see I sprayed a little because these parts, I'm not using a lot of colors so they can get dry really quickly. We can see when I go further away from the middle, the center part, the color reduces and it gets lighter. While we are progressing with the tapping movement. You have to make sure that you place your hand in different direction. So it looks more natural like this. You can see how I'm changing my hand. Now. Spray one more time so I can fight the fight them a little more. You have to keep it a little red because the same color that we do with the leaves, it has to have the same feeling, the fate feeling before the second layer. This one is a little different from the blossoms because please pay attention that I'm doing good with the, first of all, the dagger brush. And I'm using the tip of the brush. First of all, it looks elicit smaller, bit more detail because our focus would be at the blossom power. So I don't want the greenness to get away the focus of the beautiful red flower. So you have to moderate while you are placing these colors and little wet the paper epidural spray. It's quite essential to hop is spray. I know some instructors, they don't have it. However, all my watercolor courses, I use this water spray and you can use it for years. One time buying it if you actually don't break it, which sometimes I do because I can drop it. So make sure that either you don't burn your hairdryer or don't drop your hair spray. So if you don't do this thing so you can keep them for a really long time. Now I'm just gonna go ahead and dry the first layer. You can see like a spread around so beautifully for the first layer. Really happy with it. Now if you're getting to apply even more color onto it. And the reason I haven't done the door parts is because I need to make sure how much color I'm adding for the risk lover. So according to that, I'm adding how much blue I'm adding onto it. I really looking forward to seeing you guys frame, painted this one and frame this painting and send it to me so you can either having it on your home or giving it to France or your loved one's. Just make sure that the paper is wet. Slowly. I'm getting ready to go through the flower parts. I'm going to spend quite a time on this because this is the, the main point of this drawing, of course, is the blue part of the door as well, but these flowers needs to come out correctly. So the amount I'm going to spend on this part is going to be around 1520 minutes that I'm going to spend. So I assume that you guys do the same. Let's spray this part. Now it's ready to actually, to go through with this it the tapping movement. However, if you notice, I changed the brush. So make sure that you brush, your wash the brush and repeat this action that I'm doing. Now you can see it's because the first layer, it's bright. It's kind of like I'm not saying dry on dry, but we don't have much water on the red pigments. So that's why they look like this is kind of like dry and dry technique. Now adding actually more water onto it and cleaning good to use the fading techniques. So every time that you want to fade out, make sure you have your tissue next to you. And we need to keep some white areas. When I say a highlight area, it means like the previous layer had some parts that it's going to be very bright red. That's gonna be our highlights. Never just apply the dry on dry and let them go. Please dr. Please fade down and bring the color out. Now I'm going to add even more. We're going to add few layers. The first layer that you saw, this is the second layer that gradually I'm going to add little by little. So one thing that you have to be careful, you have to wash the brush, fade them before it becomes damp and dry. If the corner, for instance, even the dry on dry because the colors have some water onto it. You have to actually feed them with food before they are completely dry. And this needs to be done quickly because as the surface didn't have much water, so they can dry quickly. Adding more of my hand direction here is quite important. Like sometimes right parse, sometimes left. It's like dancing with your brush. So I assume, like you enjoy actually this hand movement. You go right or left, right, in a certain direction. This is actually the same direction. I draw different trees and leaves. You can see I keep growing the, getting the pigments from the brush and then fade the colors. Now, add some water from the cobe, cleaning it. So getting the sum of the witness away from the I was about to say platform from your painting. Now slowly continue. You can see even my tapping movements gets more delicate when I get away from the center and moves towards this area. So this is how we reduce it. You can see the hand movement, just fate even more. These, these kind of fighting this to continue until we are happy with all the parts. Notice a maximum I'm using like between three to four brushes. However, you can maybe use two brushes if needed. For instance, I really didn't need to use this one for now. Little spray the paper for. In order to go through this. The leaves, the second layer of the layers. We can use either sap green or olive green. M for here, maybe olive green would be better. Since it's a very warm color, makes our painting more vivid and lively. You can see just a covered the whole area just needed a certain green areas to be wet. So I didn't spray the red area yet. Now we have to add maybe a lethal sap green or any maybe who care greens light. Slowly. If we repeat this, handle message on around the bowl areas, I am not going to keep repeating or talk through some areas that I have already explained. Because now the hand movements, the amount of color I'm adding, everything is the same. It just a certain our layers are we adding on top of each other is very important. Make sure the center part darker and when you get away from it gets lighter. You can see I'm trying to spread the colors. These are darker green bonds. Again, I clean the brush and it'll add some water from the cup and wiped it 50 tissue quickly and start a fading the colors. This is exactly the same process with the flower blossoms, except that the details for the leaves there are tinier than the red ones. Solely using the natural hair brush, which has the rather round one. We did lighter green, olive color. Just create the feeling of the leaves. They don't have to actually looks like lips by because they're quite abstract on our, from our model that we observe directly from the palette. And I bring the colors. I'm not, I'm not prone to paella, sorry, from the set. In order to put a really dark green ones on the corners. You can see they're almost the same. They have the same dark green colors. On to have some more angled leaves. You can add some water, spray water onto the surface, and then use your brush on it to create the green background surface on them. It needs to have between green and blue laser. But if you didn't want to add blue it as fine as well. Now these are the details. Let's watch it in real time as I'm going through. So if you want to lift up some of the colors, you can easily do it. Wilder read with your tissue. Again, make sure that you cover the areas that you don't want to spray with your hand. And use a different green for here. And then spread it out with your brush. Feta, almost all over the wall. Now we're going towards the left side of the wall with the same color. Slowly reduce the color of it. It goes towards the edges, left to right, spread evenly. Now straight from the, the color set, we're going to add some color onto the green leaves. Look how I'm just changing the direction of the brush. Sometimes the rise sides, sometimes using the left side because both sides will have pigments and it will be good to use both sides. Now spray a little more. So we could start with another layer. You can use like a scarlet, violet, different kind of read that you have. Mix them. And it's a very good amount of density. Like bring it over. See how much. It's very red now. Slowly, especially near the green parts that they have lots of colors. We're going to add even more red colors. It's better to create different red feelings around. So not all of them the same colors. Some parts elicit darker sound parts and little less darker. The reason we're going very slowly and we'll handle this. I want you to look at Mount of like blossoms, the flowers that I'm adding, even though they are not really hyper-realistic, of course, have lovers. But we have to be accurate when we are actually putting down. In their places. You can fading from right side onto the left side. Slowly going down. Always paid to be there. Dryer brush and reduce both hand pressure and your brush pressure. If you go down here, when you start actually practice it on your paper, you will see how fun it is to actually put the colors next to each other. At more pigments, less pigments. The feeling of it, you're getting it right is quite amazing. So I really looking forward to hearing your experiences, looking at your practices. The past few artworks that we have actually done together. They can be all framed really nicely or you can actually either even sell them on Etsy or different platforms if you want to create a courier out of this. So if you needed any help, please let me know because these artworks and landscape we are going through, they can be like get printed out. You can use them on different platforms. I actually started making some money. So the good thing about art courses is that they don't have to be just for fun. It can be for art therapy. It can be for you make a career out of it. And I defer it says start drawing them on cops pillows as different prints or even sell them as actual artworks. And tell you're like around girlfriends, families showed up so they can even introduce you to other places. So I really hope you are, if you are not looking at it as a hobby, your career pixel. For these courses. If you need to go through so many different examples, look at all the watercourses, watercolor courses that have done to see which subject really interests you, for you to pursue it as a career path. Slowly, if I fade them away as well, you can see I'm holding it so it doesn't spread around too much. But enough. Just in their places. Every time I start fading it, I'm doing cleaning it with the water cup, using the tissue really quickly and then fade the colors. That's a given. At some point. I'm not going to repeat it because I'm definitely doing it. Like here. It's been cleaned and dry it with the tissue and then use, I'm using it on today as the fading technique. You can see we don't have much color. Now. We got some denser pigment for here. You can see the, actually the colors becoming alive, much brighter. So many different life highlights. From dark to light. Spent enough time for this area before moving on today. The door Part. One important thing that you should know is like how much to add, then actually to stop. Stopping the right time is quite important, not overdoing it, because if it keeps adding and adding red ones, you might actually overdo it and it's not going to come out correctly. So daimon of time, I'm actually putting the amount of layer is completely enough. Please. If you're starting this as the watercolor media, follow exactly the layers and the amount I'm adding. But of course, if you are more experienced and you're learning new techniques over this, you can use your experience as well. You have to use the sharp part of the tip of the brush and make sure the outlines of the flowers there are clear here. Distinguished either the flower or the leaves. So obviously the first layer is, it shouldn't be distinguished. You'll just have to place them correctly. Life blossoms shape. However, the second layer becomes more visible and the third layer, it has to be very clear they are what they are in indifferent red colors and green color. And for the green parts, do please do use some combination of green and blue? This first because the the wall, it's, I don't want to say it's rotten. But when flowers actually grow over the wall, we do have some crazy colors onto the wall. So we are actually creating those feelings by adding some blue and green around the flower and the leaves. You can do this either with this in this direction or little more, both horizontal and vertical. But this is better because we need to show that the the wall, it has some angle. So I'm going to spend a few more minutes, maybe like four to five minutes on the red flower parts. Add some more layers. You can also use scarlet or another, a red color if you have them. All, we'll go back to your reference. And if you have learned and practice your watercolor France, you have done it, which I really advise all of you to do it. Once I place, spreading the color even more, fading them, they become the color feels more mature here. So sure that you actually dry your brush. Going to use a hairdryer to go through this area, making sure that all the parts they're not going to stay wet. After we have dried it, we will notice that we want to add more red color on it or we want to move towards the door area. The reason is that because when you use the hairdryer or anyhow, you wait for it for 15 to 20 minutes or half an hour, you'll wait for it to dry. You will realize the real color because when it's wet, They are brighter. They feel like, oh, wow, there's so much color on it, so I don't need to add hover venue completely dried out. The real color is going to show itself. So after you have seen the real color, you can make a better decision to add more layer or actually move on to the next part. Some instructors that will advise hairdryer, that's fine. So it's completely your decision. I don't want these medium to become a very fast medium for you using hairdryer really, really fast and your speed. You don't have to be like 20 minutes for the area to dry. And sometimes it doesn't event. However, naturally. Letting some paint to dry that event beautiful itself. So it's completely a personal choice. Which one you're gonna do? Now? Let's go through the white gouache because the color is quite nice. So I would like to ask some real white highlights on it. I am using a smaller brush because maybe you won't see the effects, but the areas that I'm using, the highlights is going to really leave some beautiful highlights around and make the work looks shiny. If you are ever confused, which kind of brand you'd want you to buy if you don't have them already, please do ask me. I can guide you better so it's better like you find a certain brand and say, Can we buy this one? Or do you think this is a good brand older and they can guide you or send you another link to say, this might be better. Just kind of really small dots. I'm applying this. White highlights on. We can also even add some yellow, yellow highlights. It's not that necessarily what you can do it and it looks nice. It will become more attractive and especially in dark areas when you add them. After that, you have to make sure you wash your brush before actually going to apply the and other areas, especially when you have yellow or red, when you use it on blue for access, the color is completely going to change, is either going to turn into green or purple. So be careful of the content. Complimentary colors. These little details, the color combination, either yellow and red in-between, is the difference between a very good work and I'm an excellent work. I hope you that you spend more time and add details. Now, look at my hand movements, how and what I'm gonna do. I just applied tape on the area that I'm just being careful. The blue colors not going to go on to the the brown color. Use the tape, scotch tape. Stick it to the door parse. Just make sure you try to take before actually applying it on your main model. Because some types, they are so strong that when you rip it out, when you take it out, it just can rip up the whole paint. So careful of the strong ness of your tape. That now depends on your reach tape you're using and it's so strong or not, this is a very normal one that is not going to destroy the paper nor the colors. Now I have my brush is clean, prepared and the tissue, the tissue is next to me. Going to clean the palette. However, a more confident here because it's blue. So it's such a dark color and it's not as delicate as the red ones. You can use different colors such as blue or a certain color here that you can see on the screen that I leave their names. Don't want it to be completely even. I'm adding some parts, a little more and some parts lists. But we should not leave any certain line in-between. What I mean by that is just when you draw watercolor, if you're not careful with the amount of water and the pigment that you use. You can leave some marks in between and we don't want to leave some marks in-between. Now, here is quite important. I use the tip of your dagger brush and add inconsistent line. First, very light pair of painters line, and then you will go on it and add the second layer. If you're not confident that your lungs can come out straight, use a ruler. I have done this so many times that I'm okay not to use a ruler, but if you need one, please do use one. Or any kind of device or tool that's going to help you to create this inner straightaway. You can see there are completely interrupted lines, inconsistent, but still they have to be on a straight line. Try my best to be as straight as possible. If you want to become better at this, I advise you with one practice, with your pencil. Start drawing so many lines and it's consistent line that they are quite delicate. And then