To light so I get my puddle going on my 140 pound arches paper. point my brush. Oh, where's the puddle? Oh, is it too late to get a puddle? No, there's the puddle, you've got to have the puddle. So you might have to tilt your paper a little more.

There's the part of we're off. Now, I'm going to do a little trick here. So be careful. This is a good way to get clouds or when you're doing flowers to get a soft transition. And I wet the bottom here and don't touch that blue but just come up to it. It's going to create a soft transition See that soft, that's what I want.

Then I continue across. Be conscious of soft and hard lines. I'm coming up to another one here. And I'm just going to sweep in through here with a little bit of wet. I'm going to wet that a little bit. And I'm noticing about here.

See, okay, it's wet there. Look how it's going in there. See how nice and soft Oh, I lost my puddle, back to puddle. Whoa, tilt. And I should be able to get a little bit in here. And I did wet here's to soften the edge.

There we go. I'm leaving this. I like that. Pick up the puddle. Okay, I want to leave a little bit of white there. could always fill it in later.

See where it goes. And I think the hop overs right through here, there we go. And now I can work on my puddle. puddle leave the white, remember with just pure water. So I can get light to dark, light to dark because this is wet. See, I can just tap it in there and it'll disperse on its own little technique.

You never want a puddle to just sit in one place. So what I'm going to do is I'm going to get some lovely nuances here just by tilting. Look at this one go, this is really going nicely. tilt this one there she goes all the way and tilt it this way, and now they're running together, which is what I want. And I'm getting a varied dark and light all over the mountain. If you were doing a flower, a vase, a human face, a building, same technique.

Okay, now at some point, I'm getting a little bit of white next to the tree. Give it a little swipe there, swipe there. The wet paper brings out a different texture in the paper. If you wet your paper and put the paint on, you will get a different look than if you put it on dry paper. Here we go. Okay, so here's my dark wash at this end.

Be careful when you with these brushes, the synthetic brushes especially, they're a little spring here. Then the kolinsky sable so that brush tends to spring up sometimes, and flicked little dots all over the place. little dots of paint. Okay, there we go. And we're going to bring that over here it's going to be a little bit lighter. So there we go.

I'm pointing the brush at the edge I'm painting in the pure water here. Watch that brushed and spring up, aren't even going to add water. I'm just going to put a little bit in here. Notice I tried not to touch the side of the tree so I get a little white showing. Let's see if that worked. Drop there.

Yeah, that little bit of white showing is good. There we go. Let's take a break and leave a little bit of white showing here in their port to have a little just little strokes down. We can always darken a watercolor, even here. Leave a few little white spots in your reflection You can always dark in a water color but very hard to lighten it. So notice now my brushes dry.

Listen to it. And I just finish off there for now. And it put one more little drop here so it's darker. let it drip down now because it's wet and then let it drip down to about here and then tilt and then tilt up this way. There we go and a little more in there. Just a couple little because this is water here to a little bit here.

See dark like this maybe a little darker. There's my blob. I just told you not to do it. But that's not a blob, because I'm going to de blob it because I don't want to drink Epson slips and I'm drying my brush off. And what I'm doing is I'm taking a damp brush and I'm softening the edges. dried off, wet it with pure water and soften the edges dried off at a white spot there.

It's gonna soften the edge. So often the edge there we go. There. So I put a little bunch of paint in here. Now I'm going to get my turn my paper. Oh light, perfect, dark.

I'm doing a flat wash here. I'm going to think it's in shadow. So we're going to have a flat wash and remember how to do the flat wash point the brush at the edge of painting. Let it run up. Keep adding paint right to the end. Don't let up on that paint.

Get your puddle moving there puddles at the end, suck up the extra. Watch this, I can leave a few little spots here and there. I'm going to use the tapping stroke now it's still a wash but it leaves a little bit of the underpainting which is the medium blue, which could represent snow on trees. And notice I'm just stippling now and because the papers bone dry, it's really sucking the water up nicely. And now I'm creating a texture. I've moved to my next level in my creative process, texture pointing the brush at the edge and painting Need a little bit of white showing.

And I'm going to come out with a little stroke here. And I'm going to bring it up to about here is soften the edges. You don't want hard edges in water. So we soften the edge with her brush. That's all. I think I'll cover this little white spot up here.

And I might give it one more little boy. Yeah, there we go. Okay, we got it. I'm going to tilt it. Bring that little drip over here. And always channel your drips and pick it up in the area in blue.

There we go. I'm going to do a dry sweep. Take this brush and sweep it like that. Just take it here and sweep it Just here and they're sweeping it through to create a little bit of undulation in the ice, I might even take a little tiny bit of blue up in this corner on the dry paper. Notice this is called scumbling. It's when you take that brush and you dry brush it by stumbling the brush.

And we want to keep it soft. So I take a little water on the brush and go over it to soften it. And you'll notice what I've done is I've put that part of the cloud in a shadow, little bright whites there for a little bit on that side, sun's coming from this direction. A little bit down to the bottom, a little bit down here, just a little blue. And now I can introduce my alizarin crimson, put it over here. And you can see how thin that is.

That's like You can really see through that little lizard just a bit. Notice I'm not doing the wash as much as I'm lazy. And I end my glaze with a simple stroke so that it blends into the area I've already put in. I'm going to add a little bit in here now. Now you see how dark that is. Because the paper underneath it was very, very light blue.

So now I'm just pulling it down. Notice I haven't taken any more on my brush. I just took that one little load. I'm going to leave the white. No, I think I'll hit the white here with the list the lizard and now I'm doing my little pokey stroke to finish it off. I leave that white To the clutter, take a little word for this.

Perfect. See that? Just little, touching it in. See that strong. Take some water. soften the edge with water.

Soften the eyes. Look how little paint makes such a big difference and a little bit over here little touch here. Just putting up a little bit of blue here because the reflection should be darker. And I'll also keep it soft brush in the water, soften the edge. I'm thinking I'm going to lighten this up a bit. So what I'm going to do is just take my brush like this, I read it, I touch it, and squint a little bit like that.

Touch it, clean it, dry. It. Rabbit, water, dry rabbit. There we go. So if an area gets too dark, you can lighten it. These two values here and here are too close to each other.

So now I'm picking up the color See, creating almost a mist like appearance to it and put a little blobs on like that. Don't leave them. Take the paint off, soften the edge to spite tapping. Tap it off, pad it down. Oh, this is the tree now. Hey, look there.

That's cool. Sometimes, you get little bonuses when you're painting. You don't even realize why you're not touching that. And then you go Oh yeah, that's a tree. That's looking good. That's a good reflector.

There, I'm gonna have a little shadow on here, crimson, which I have ready and give it a little bit of a swipe into the wet. That gives you the file shape and shadows are always soft on the edges, especially the farthest edges. So I soften, it's time for yellow. The reason I'm going to use some yellow is because the sun's coming down and hitting, so be careful with yellow. It's a very, very, very prominent color. So you'll notice I've just taken a little bit of yellow out of here and bring me another little palette, find a little spot and finish it.

It's quite thin. See how thin it is? Let's check it on a piece of paper. Right. Even snow can have a little warm. So putting a little touchy yellow chin here.

A warm spot to add a little bit up here to very thin veil of yellow, very thin pitch. They're not everywhere. Just a little bit, always leave the white paper for the brightest area. You can't make things bright with yellow. You can only warm them up.