Okay, let's see what this cobalt, cobalt blue. And this section here is what we're working on right here. It's wet, but just a little trick. I'm going to see. Yeah, it's pretty wet. But you see this isn't an atomizer.

So I might spray a little bit of water just a bit. See that it's wet. Yeah, that's just right. Now I'm going to take a little bit of the cobalt. Remember, we like to let the paint mix on the paper. Leave some spots.

Leave some white on the clouds. Then a little drop of the lizard and touch drag. Maybe a little more. More there. And then let the paper do its magic. Don't boss everything around with your brush.

Paper do its magic. Oh, I like that. Coming down right there. Dark. There we go. Don't be afraid of a little darker.

Then I'm gonna let that since running See, control the run 10 for the tree. It's pointing up the tree. Clean up the brush. don't want to lose that. Lovely yellow there. So soften the edge.

Oh, we have a couple more clouds that came in there like that. Just let that soften the edge. Touch the rag. soften the edge, touch the rag. soften the edge. If you don't have a bit of a litany going on in your mind, you're like a dog following his nose or her nose, following any scent that comes along.

So, have some words in your mind at certain times. That will direct you. Other times, just be quiet. soften the edge. Don't lose the White can never get it back. Now as I look at that, I realized I want one more dark.

Now that looks pretty bold. But remember, watercolors dry lighter. Okay, so now we're gonna let that move around a bit watching pick up the drip. Now cobalt does not move around the same as failover. So, but Just leave it. Don't touch it.

It will set in later. Just blow this little see how that dispersed it by blowing on it and I'm going to now get back my little shapes here I like that. Look how bright white that is. That's perfect. And now I can start to maybe throw in a little bit of that was bold, but I want to set this tree off. So remember the paint is wet and the papers wet.

So we're okay. Paint will go where you tell it to go. Little atomizer soften up that edge, a bit of cloth. Lift a little bit off see you If you put that on and not quite what you want, now it's they've become far away hills. Look how easy the cobalt comes off. If it was a little scene, you'd have a stain there because steel is things much darker.

So I've added a small, small little purple or violet in there. Okay, 15 minutes later, paper is still wet, is not great talk may be drying a bit, which is what we want, because it's time to put in a few darker accents. So there's my three ultramarine Alizarin and hats a little bit of the red on one part of the brush, a little bit of the blue and a little bit of the yellow. You can look at that and see that we have red, yellow and blue. A little trick from the Impressionists was broken. To color combine to get the edge of this road.

That's gonna be tricky, but I can do this. Oh, I like that. I like that I didn't really know what was gonna happen. I see the yellow didn't come out, but that's okay. The tree that guess that's the tree that I did here. So I'm thinking a bit here.

We're gonna continue that around along one more. There we go. I'm going to add one here and along the road there's a goalie in the road here. Notice I'm more more or less using the brush as what we call a tool rather than stroking it. I'm adding some tool marks. Some straight lines.

Nice. I think I'm going to do this. I don't know why, but I know I'm not going to do that. Can't get to balls yet? Not yet. I just had to do something bold.

Now I'm going to take my brush and clean it again. Remember the paints were at the papers wet. A little bit of rubbing there for my shadow, oh yeah, like that. shadow area shadow area. Oh, boy, I got a look. I have to admit I was a little nervous there.

But you know nervous is good. Good and painting get a little bit sort of off balance. No struggle. no merit. Now I'm going to leave that in just a little touch there. Nope.

Best thing is that the papers, there we go. soften the edge. There. Let's go soft here. I think I'm going to come right in here. soften that up.

Right along the goalie. Oh, now I just saw I saw in the corner of my eye. I saw big cloud coming in here. Big, almost a storm cloud. See the ultramarine how it sits on top. Whoo, whoo, stay within that treat.

I almost connected these two here. Which means it will be okay big storm coming in look it's darkening there. That's great. My trees trying to show up Okay, I'm going to bring it over that's darker. There we just added some dark in here. A little bit of water.

See what happens here? Nothing ventured nothing gained. timid is no good. Coming over here got the big boy there that should do it while the paint only goes where the water is See that ultramarine sits on top. Whereas the fellow, which I'm going to take a little drop a fail here and put it into the ultramarine just a couple drops to give it a little CFM thinking that big storm coming in here. Nice, actually.

Oh look at this cut a little something going on here. Now we got to make sure that this doesn't watermark so. little nest. No not nest. Just just I want to bring this over more. Big Boy.

Bring him in. There we go. And now I think a little blown Well, the trees really standing out now. But you see the roundness here and the roundness here. We'll check and see if there's anything on there. I want to soften, there's my little white spot, it kept it all I like to have something going this way.

So I'm going to take a little of the ultramarine and the fellow seen mixing two blues is a great idea. Okay, but the to the mixed and I'm coming in on an angle like that. And like that, with this little tiny bit of read into it. And let's just let that sit on an angle. Like the square shape here. And the round shape got varied shapes round square.

Got a curve. Let's get intense. Whoa, look at that baby there and tilt that around the tree. Now the trees even standing out more. If I wanted to create a windy effect. I go like this.

And that makes the pink spread his knee a little exercise to Oh yes, look at one way up there. But no problem, just tilt it. Look at here, I never would have imagined that that little problem we almost had. Oh, look at how it's moving here. You see, let the paint, do the work and then walk away from it for a few minutes. Just got my little Oh, Blue Blue.

Maybe I'll just before I leave it take a little green here. So you have a little green coming on here. Let me a little bit of green in there. Oh, there's a nice precipitation. We call them precipitations Because the papers wet, I can take the big guy here and go like this and get my field looking like that. See?

Let's check and see. still damp, which is good. And this is great here. We don't want to fool around too much with this light's coming from here. And I'm thinking I'll take a little push that spring idea with a couple strokes going across the field There's a nice whadya there, see the wedge. Bring this over here.

Nice. soften the edges like about the sable brushes is very gentle on the paper but the these are great also for just tapping out. Trees very nice. I think a little pinch of just to drop of the green there. Click a poplar. Over here I'm not sure if I want to touch anything there.

I think I'll intensify the yellow here. I remember a painting comes to mind by john constable and get this real bright strip color in the distance he painted in England. So we can't help but be influenced by people. More bright yellow in there. And we are looking just for some really good yellow accents. I like this where originally we drew it with this color.

Is it still wet? Hmm, pretty getting pretty dry. You'll see the ultramarine how it leaves. See the ultramarine up nice and close here. How it settles into the recesses of the paper almost have a moon effect here. Now, this here is going to be something I will deal with right now.

Okay. And the way I'm going to deal with it is first of all look at my original drawing again and I may throw a few of these little scattered dark skinned or like the telephone pole, I make put it in, I might leave it out. I think what I'll do is take a strong orange because it's sunset. And what I'm going to do is turn like paper upside down and put a little WebPart spot here and give it a little and then turn it up and see what that looks like. Let it dry. I'm partial to this orange.

That's it. See that I don't want the values to get too close here. I think I'm going to do is I'm going to come in on this tree a little bit with a dark green. Take a dark green in here. There we go. And pop in a few.

I'm looking at my other picture here you see, getting some ideas from there. Just just giving some little spots here. Taking the end of the brushes breaking through the boundary here. There we go. Over here, I see Well, that's Well, I don't want to touch the one I think it's wet hair. Or go to Rocky.

They're nice and there's a bit of, I'm gonna bang my little brush here cuz a little texture there for the foreground, just a little kind of stumble in the field here in there. Break it up a little bit. And next is the road. Removing now, just a very interest in descript gray, which is a little bit of all the colors. A check it on here. That's about right.

Yeah, and I'm gonna dry brush like this. actually gonna come from here. Just run it up. Gently like that. Take a little bit of hair texture on the road in the middle, that's where all the gravel goes. Excellent.

I like this good. Almost looks like houses and to make that setup I'll need something right in the middle. rub it around with you had to brush that's one big tree there. And the last thing I'll do is take my brush and give it a nice shadow run across here. It's not dry yet but I think it will be okay. So I'm going to take some neutral gray, little random green, everything, a little bit of everything that's up there.

But keep it on the violet side. Like take a look at the original sketch. And bring in these shadows next because we have it over here. Hold my paper then on an angle Bringing it in right over there. Could be more trees over here you see. I'm going if you want a skinny one here, a little bit of a bump in this one because it is there and going for real nice dark in the corner here.

Strong, red, green, dark in the corner and soften it up a bit. A little bit of blue in it and tilt Bring it up with Rick. Great. Okay, so then I just let that sit and let it dry.