Let's bring out this sky one more time. With one more wash, get the bead going again gently and instead of water I add that second blue tilting and now I'm going to just add water because I want to get a very nice graded wash going right across. There we go. It's happening. Okay, more water. And now I'm going to do something about it.

Take a little bit of the puddle, rub it off, add more water, getting that line there again, see, to make sure I tilt it to get it looking right actually have to tilt that right down to bosses around a little before it starts to set. It's all wet. Bring it up. See what I'm getting there. Now this works with transparent paint. If you're using grainy paints like ultra marine or any of the earth colors, you're not going to get this effect.

You have to wash the paint off every time you do a wash. So I'm going to get that blue through there. There we go. The English would either take bread crumbs and rub them all over the painting to take up some of the granulated paint from ultramarine or Bert seanna yellow ochre, all the earth paints. They have to be washed off in this text. But we're lucky today we have all these coal tar paints, they're called coal tar derivatives and synthetics like famous scene and just come with that dry now, sitting straight, get my hairdryer go to close.

Keep it from a distance. If you go, if you go too close, you're gonna blow all the wash around. So come from a distance, gently set it right down in. You take some of this alizarin crimson and really Finley. Now I'm going to add this metal wash here very gently. And I'm going to do a little pepper stroke at the end.

I'm not going to use any more water, just a little pepper stroke like that. See, believe it or not, there still is some red left in the brush. And it was just lose it into here. Now this is all wet, so I could add one more. Now see I've left the paper, you can see it's glistening. And now I'm going to be watching carefully.

As I just pepper the stroke in the sea, it's a little drier here, the strokes showing up. So I can gently, gently stroke it. And even over the white here, that'll look like it's in the shadow. And what I'm doing is creating a bit of a shadow on the mountain, because I've added this violet color to it. Now you'll notice that this is starting to show up more. That's that's something I don't want to lose.

I don't want to touch that. Now I'm going to take it from the other end. If I tilt it this way, it's all going to drip down here, which is one of the things we want want it to drip. We don't want puddles of paint sitting on the paper. A watercolor looks great when it's wet. That test of your technique is when it is dried.

So just because it looks nice and shiny with a puddle of paint, it's not going to work like that when it's dry. And I'm going to be taking a little bit of the as Oh yellow, just a little bit on my brush in a loaded, shape it touch it to the rag so it doesn't drip. And I'm going to do that little tap stroke. If you do it gently. You won't disturb the layer of paint underneath if you do it with too much. If you hammer too hard, you're going to disturb the paint underneath and it's going to get mushy looking and dirty.

Once again, if this was ultramarine underneath, and it wasn't well washed off, this would all be turning into mud. So we we will be using those colors in the next session. But right now we're just being very careful. Let me take a look at that now. It's it's affected a difference. Now, I think what we'll do next is we're going to put in something called a flat, wet wash. What I do is very carefully, I wet my hundred and 40 pound paper.

It doesn't have to be everywhere but I can see by holding it on an angle where the paper is wet. That's why today I have my halogen lights on. They're not shining directly I shine them straight up at the ceiling. So good luck. light bouncing around in my room, because it's winter, and it's about four o'clock in the afternoon. And there is no light of any worth left.

So you may have to work at night. So if you're going to work at night, get some halogen lights don't work under fluorescence or incandescence. Use halogen are the best. Okay, that's all well, good. Let's sit for a minute. And what I'm going to do is I'm going to take a drop a lizard, and I'm going to drop it in.

It's going to give it a minute more. Just waiting. Think more paint class. I'm going to do a little dispersion test. Just going to touch it. Oh, yeah, it's working.

That's good enough. And now I take a little more water. Remember, this blobbing or this pooling of water is only good Know what you're doing. Don't be afraid if it tilted it's only going to go where the papers wet. So I'm concentrating my attention on the shape and I'm tilting and I'm not letting it go everywhere. Remember, I want white on this side showing want to get rid of these little lines here so I have to boss the paint a bit and pick up the drips.

Turn it around. Always, always, always when you get a pool of water, tilt and pick up the lips. Remember, your best friend is your egg for the English watercolor note lips style of painting. And what I'm going to do is I'm going to just put a flat wash with my find Robert Simon's number eight brush. there been a yellow there. I'm going to now darken this side of the cloud.

Going to make sure it's dry. Yes it is. Put a little bit more of the lizard and crimson. And I'm going to take a little bit of it. And I'm going to do a little wash here gently. But I'm going to do an infused wash. Notice I've done the lizard and Crimson then I pop over here for the very, very thin fail.

And I'm infusing the two of them together. And bringing them up on an angle. cleaning off my brush. soften the edge. Never soften the edge just once. If you can get two little spots of water coming down there.

And of course, as always, tilt See if there's any drips to pick up. What I'm going to do is put a shadow on each of the trees is where your big brush comes in. sun's coming on this angle. So and this seems to be a rounded shape. So I'm gonna wet the bottom of this gently. I'm putting a little bit dampening it.

And now I'm going to take my smaller brush, and it's going to use the dark blue. And I'm going to make a little stroke like this. Hold it up right underneath. Okay, nice brush and just stroke it over on each one. Same angle. Now because that's when I can add a little more here, here's the rule for shadows are not so much rule but an observation.

Bring it right up into the tree. The shadow is always darkest at the source which is here, and the edges are always sharpest at the source. So darkest and sharpest here. Take my brush, because I wet the paper. Come in Ray here. soften the edge, gently soften the edge just exactly at the tipping and leave that hard edge.

I think I'm gonna leave it like that for a while. Let it dry. And I'm going to warm up this with a nice little yellow wash, gently. Just kind of wash it over gently. Right in here. Don't touch that.

And I can pick up the drip here. Watch the shadow doesn't drip. Notice I'm leaving the shadow paid on. It's not quite a blob that because I'm wet the paper. It's sinking into the paper. Okay, now what I've added here is nickel as Oh, yellow.

That's this color right here. It almost looks like yellow ochre, but making sure my brushes really clean. And notice I have a good tip on this number eight brush painting. So I'm going to take a little bit of this as a yellow. Oh, that's way too much. So I'm going to take some off.

Like we're talking just a drop. Look at all that makes. This is a tremendous yellow stainer. Now notice my brushes fully loaded with it. It still looks kind of rusty. But what will you see what it looks like when it hits the paper.

Now I've touched the brush to my rag. And I'm going to on the just over there, leaving a little bit of white just going to get a little bit of that yellow on there. Here we go. Notice I've just tapped it in. There's a very fine amount up there, but I'm not going to touch that. I'm going to get a little more yellow here.

I'm going to get take a little more yellow. And I'm going to look around is there's a little spot here. It's all dry, and have a little video look at the blob. So I take a thirsty brush, touch the blob. And what I'm doing here is I'm adding little spots of more into my tree. Now if I redid this picture, I probably leave more spots in here where I can put in a little bit of pink