Paint effortless watercolor clouds with me | Paint n sip #114 real-time watercolor tutorial

So our painting for today is this lovely little cloud study. I went through kind of a phase, as you can see in this sketchbook, of painting clouds, and I was just trying to figure out the best way to do it. So this is my first attempt, and I like it. It's a little bit... I didn't love, like, some of the aspects of this. So I was like, how can I make that better? Well, I switched paints, and I also just changed to this much softer wet-on-wet technique, and I really like this a lot better. So I'm going to lead you through this painting here today. It is going to be a little bit tricky with the sky section, because you have to do it all at once while the whole painting is still wet. So there's going to be a few kind of steps that we need to take while everything's still wet, so just try and stick with me. As always, the paint and steps do get uploaded to my YouTube channel afterwards, so if you want to follow along with me today but end up, like, kind of missing a few things, you can always go follow along on YouTube later, and then you'll be able to catch, you know, pause the video and catch what I'm saying a little bit better. Are you talking about this landscape? I like this one. This is a little for fun gouache landscape that I just did in my sketchbook a while ago. Okay, so this is a little etcher sketchbook. I love these sketchbooks for watercolor painting. They just work so well, and you can see I just get such smooth applications of paint, especially with the watercolor set that we'll be using today, which is the one that I helped design with Artistro, and so I really love the combo of these paints and this paper. It just works so well. We're going to find out how it looks on this paper, though, that we're using today. So the paper that I'm using is this Bao Hong artist's watercolor paper. I got it on Amazon. It is 100% cotton watercolor paper, which is the most important thing I recommend looking for if you're looking for watercolor paper. Try and find something that's 100% cotton. It's cold press, and it's six by eight, a little over six by eight, and then it's a watercolor block, which means all of the pages are glued together, so you can see all the pages of the sketchbook are kind of glued together, except for a little section right here where they're not, and so what this does is the glue holds the paper down while I'm painting, keeps it from warping too much, and then when I'm done, I can just slide a little tool in there and break the glue around the edge, and then I have a piece of paper. So I like working on watercolor blocks for the paint and sips specifically. It's just nice to not have to deal with tape and be able to kind of move my paper around freely. Okay, so let's go over my watercolor set here. Here it is. These are professional watercolor paints. This is a little bit of an ad because this set is available for you to buy if you'd like to. It is linked in my link tree. It's the third link there. It's on Amazon, and it's professional watercolor paints. They're really high quality, and the pans are huge, so I recommend checking it out if you're in the market for a new watercolor set. It's pretty reasonably priced as well for a watercolor set, so definitely check it out if you are interested. It's in my link tree, and then last, my brushes for today. I've got this 10 round from Princeton Neptune. I've got this four round from Princeton Neptune, and then I got this number two round from Christy Rice's brush set, and if you happen to be watching this recording on YouTube later, all of these supplies are linked in the description of the video. So basically, you just need a large, a medium, and a small brush, your watercolors, and your paper, and that's all you need for today. Optional as well is some tape. We will be taping, I will be taping the horizon line, but it is not necessary, and a ruler if you are the kind of person that needs a ruler, which is me. So let's go ahead and just talk about what we're going to do to set up our painting here. We have what's called an extreme horizon line on this painting, so that means instead of the horizon line being kind of around the middle, it is way down here at the bottom, and what that does is it kind of manipulates the perspective of the painting and makes the sky look a lot bigger, and that's what I like to do when there's something like a sunset or the clouds are the focus of the painting. If you had the horizon line up here, you'd run out of space to show the perspective and how big clouds are. So when I'm painting scenes like this, I like to just drop the horizon line down way far towards the bottom. So let's go ahead and do that. Again, I am the type of person that needs a ruler, so that's what I'm going to do. My paper is about six inches, and so I'm going to do about an inch and a quarter from the bottom, and what I like to do is just mark a little spot on each side with that measurement, and then I will use tape to connect those two lines. If you don't want to use tape, just use a pencil line to connect those two dots, and that way you'll be able to see it later, but this way I just get a nice straight horizon line without having to worry about it too much. There we go, and then I just press that down nice and hard with my thumbnail, get it to attach to the paper. There we go. Now let's go ahead and put a little bit of water into the colors that we're going to use. Now this is a pretty limited palette, especially for the sky section, so really all you need is ultramarine blue or a sky blue, alizarin crimson, which is just a red, a cool toned red, and then burnt umber or van dyke brown. I'm going to use burnt umber, so just those three colors I'm going to put water into. So again, that was a ultramarine blue, some sort of sky blue, ultramarine blue color, alizarin crimson, and burnt umber, so a blue, a red, and a brown. If you don't have those exact color names, that's fine, just find a blue, a red, and a brown, and that should work. And while you're doing that, just my little spiel as we get started here is just to, I hope you enjoy painting with me, and I hope you take it easy on yourself, especially if you're new to watercolor, but regardless of how much experience you have. We are just painting for an hour, and I just hope that you learn something, and you enjoy yourself, and don't put too much pressure on yourself to make a perfect painting. Sometimes I think we just put so much pressure on ourselves every time we paint, or every time we do something, to do it perfectly, and sometimes it's not about that. It's about having fun, or learning something, or just enjoying the process. So try and enjoy that, and be kind to everybody in the comments. Be nice to me. If you have any questions as we go through this, please feel free to put them in the comments. If you know the answer to someone's question in the comments, please feel free to chime in, and we'll all have a very nice hour together. Okay, so let's go ahead and mix our two colors for the sky section here. We just need two colors, but we need to mix them beforehand. So we need just some ultramarine blue, or whatever sky blue you put water into, and I want to keep these colors pretty concentrated. So I'm really going in with my brush, swirling it around, picking up plenty of pigment here, and I'm going to add a little water, but not a ton, and I'm going to get a nice big puddle of that going, and I'm using my big brush here as well. Okay, we got a nice big puddle of that. Second color is going to be kind of a muted purple color, and so we're going to mix all three of those colors together. So mostly it's going to be ultramarine blue again, so I'm just going to pick up more of that. You can see which color is my favorite in this palette. Okay, same concentration, pretty concentrated. I'm just going to add a touch of alizarin crimson at a time until I get a little bit of a purple tone there. And then I'm going to add just a touch of burnt umber at a time again until I just see it change slightly. So we're just going to add just touches of those two colors until we end up with kind of a muted purple color, and I'll swatch this for you in a second once I'm happy with the color, but I just like doing a little at a time until it's a color that I'm happy with. You don't want overdo it on these colors. Okay, I think that's good. Grab a piece of paper. I'll swatch this for you. There we go. Should look something like that. Kind of a dark purpley gray color. Could be a little hard to see when it's that dark, so I'll add a little water to it just so you can see what the actual tone of the color is. Again, we want to keep it this concentrated color, but that lighter section is just to show you kind of what tone it is. How do you clean mixed colors off the palette? So what I usually do when I'm done with these colors, I can show you in a second, but I'll just add a little bit more water to them, and then I'll use a paper towel to wipe it up. All right, so those are the only two colors you need to mix right now. Once you're ready, I'm going to, let's see, I'll move this out of the way here. We don't need to see this right now. We'll just keep this here so you can see me using these colors. There we go. Okay, so our general idea here, we are going to cover this entire top section, everything above the tape or above the horizon line, if you're not using tape, with clear water from our cup. Then we are going to use the ultramarine blue and carve out the general shape. I think I dropped that in there. Then we're going to carve out the general outline of the clouds here. We'll use a dry brush to kind of define the outside edge here, and then we'll add that purple in, starting at the horizon line and working our way up and adding in those various textures and shadows. So I'm going to go through all of that because we have to do it all at once while the painting is still wet. I do have all of those instructions for you. If you'd like to kind of let me go first, give me a second to kind of get started, and then you'll be able to see what I'm doing. You can do that too, and I'll give you some time at the end to catch up, okay? So I'm going to start with, and I'm using my big brush here, I recommend using a large brush, just covering the entire top section of the paper with water. Keep in mind that if you live in a place where it is humid, you will have longer to work on this, and if you live in a place where it's dry, this will dry faster. And I can see my thermometer right now says it's 37 percent humidity in here, which means it's pretty dry, so that means I have less time to work on this. So I'm just going to add a little extra water to compensate for that, and I'm moving my head around so I can see the light reflecting on the paper, on the wet paper, just to see if I've missed any spots, make sure that the water is distributed evenly. Then I can go into my ultramarine blue, and with this I'm just going to carve out the shape of my clouds, and I would recommend just kind of imagining little cotton ball clouds on your paper. Let them take up plenty of space here. It doesn't have to look like anything in particular, you can make that part up, and I'm going to fill in everything above that line with this blue, and you can adjust that a little bit if you want to. Maybe I'll kind of adjust this just a little bit. Maybe I want this part to go down a little bit like that. Okay, there we go. So that's going to be my general cloud outline. I love ultramarine blue, I agree, that's my favorite color. Okay, so now that I have that, actually maybe just a little bit more down here. Okay, now I'm going to leave it alone. So now that I have that, I'm going to clean my brush and go straight into the purple color, and I'm going to start with this down here at the very bottom, just starting with horizontal brush strokes, and then as we get up into the clouds, I'm going to start adding kind of same shape fluffy brush strokes, leaving some space in between. So I'm just kind of using those rounded scribbly brush strokes here, leaving some space in between them, and then leaving some white space at the very outline of the cloud up here. So it should look something like that. Okay, it doesn't look like much yet, it doesn't look quite realistic yet, but that's okay, we're going to start digging it out of the ugly stage. So first step to make our way out of the ugly stage, I'm going to clean my brush and dry it off all the way. So I'm squeezing it with my paper towel, and around the outline of the cloud, I'm just going to dot my brush to create a bit of an interesting outline, and I'm just going to continue to to dry off my brush with my paper towel, and using just dotting motions, I'm creating little extra bits that kind of stick up from the cloud, just kind of a more interesting outline around the edge. You could use a paper towel to do this too, but I find a brush has just a little bit more control for this, but that's a personal choice. Continue over here, dotting motion, as soon as you notice it's not really picking up any paint, just dry it off and go back to it. Okay, there we go. We can do that same thing inside the cloud, start making some interesting textures within this purple section. You can also use this dry brush to pick up any areas that have a lot of paint pooling, so I've got a lot of paint kind of pooling at the horizon line here, use the dry brush to pick that up, and just use this to continue adding those little textures, those little layers of cloud within those shadows here. Hopefully this is making sense, I don't know if my ramblings are coherent, but please let me know if you have questions. Okay, so I'm just kind of shaping these clouds a little bit, just using kind of like rounded shapes, but trying not to be too uniform about it either. Okay, then you can also go back into that purple color, and you can continue adding some kind of more delicate shadows. Your page should still be a little bit wet, but even if it's dry you can still add these little textures to just have like a little bit more of a dry brushing effect. You can also go in and add more pigment to areas that you want shadowed, so if I want some extra dark areas down here, I can just dot some of that pigment in, and it'll interact with those drier areas that you made by picking up the pigment with your brush. And you can always go back in with just a damp brush and blend some of those out a little bit. So you've got lots of options, and I'm kind of keeping it vague because with this technique you kind of have to go with what your paper does for you. So try not to panic too much about like the exact details, it's more about the impression of texture here, the impression that there's different layers of clouds within this one cloud here, and just try and be loose. And if it doesn't turn out exactly right the first time, that's okay, you can always just try it again. You can see I'm just adding some extra little textures over here. Go back in with a damp brush and just blend some things out. One of my favorite things to see are these kind of high contrast areas where I have this really sharp detail here of the dark paint, and behind it is that really light section. I love having those little interactions here. Same thing over here. So you can just keep noodling with it, even after it kind of mostly dries. You can continue just kind of adding these textures. You can even water down some of this purple color if you want some more subtle details, especially here at the top. Just add in those details, and then you can use a clean damp brush to blend them out nicely, softly, like this. But we also don't want to overdo it, so make sure you're not overcooking all of this detail. I'm probably getting close to that point. Okay, and I think I'm going to stop there, let that dry. You can wait till it's all the way dry to take off the tape, or you can take off the tape when you're ready. That's fine. I'm going to use my hairdryer to take off the tape, just to help it not rip the paper. So if you use a hairdryer to heat up your tape before you pull it, it really helps to not tear the paper. It just kind of releases the glue. There we go. I got a little, got a little spill. That's okay. I'll be part of it later. All right, let's see if we have any questions that I missed while I was focusing. Can I use this technique with gouache? You can, because you can water down gouache to look like watercolor. If you have, if you're using gouache like as it is out of the tube, it will not look like this. This is a very watercolor texture and technique, but you can water down the gouache to make it act like this. Thank you all very much. I love that witch comment. I've seen that in TikTok comments. I think it's hilarious. Okay. So hope that all made sense. I'm going to give you a minute to catch up with me. While I do that, I will just do my shameless plugs because I am an artist and I need to do this in order to live and eat. So my name is Hannah. I'm a full-time artist. I've been doing these paint and sips for many years now. And so if you've been here for a while, I appreciate it. If you'd like to support me as an artist, there are several ways you can do that. First, you can just follow me, like my content, comment, all of that stuff. I'm on TikTok. I'm on Instagram under the same handle. I'm also on YouTube, which is where this paint and sip will be uploaded later and where I upload pre-recorded kind of tutorials and my own artwork. So I'd really appreciate it if you would subscribe to the YouTube channel as well. It is at Hannah Art and Prints. It's also in my link tree. Also in my link tree, in my bio, you will find the link to my book, Watercolor Wanderlust, which came out over a year ago. It came out April 2024. So it's been out for a little while. It's basically these paint and sip sessions in book form. So if you're looking to learn how to paint some landscapes, but want to do it kind of on your own pace, this would be a great option for you to check out. I tried to include lots of technique in here so that you're learning how to paint these landscapes, but you're also learning how to paint any landscape with all of these different techniques. So it's meant to kind of launch you into your own independent work. So I highly recommend checking it out. It's available anywhere you can find a book. And that first link in my link tree will take you to all your options. So again, click on the link tree. The top link there will be about Watercolor Wanderlust. You can click on that and that'll give you all your options. It's also available anywhere you can find a book. Also in my link tree is my Etsy shop. So if you'd like to check out my original paintings, prints, postcards, bookmarks, all of that stuff that I make and sell, that's where you can go to find that. It would make a great gift for anybody if you're looking to do some little gift shopping and support a small local artist. That would be awesome. There's lots of stuff at different price points there. So you could find awesome. There's lots of stuff at different price points there. So you could find something for paintings that are a couple hundred dollars. So you can kind of judge based on your budget. You'll also be able to find my, this watercolor set that I'm using today. The one that I helped design with Artistro. That's available in my link tree as well. What else? My Patreon. If you'd like to subscribe to me monthly, I do have a print club on there. So if you'd like to join that, you'll get a print and a tutorial every month. There are other tiers in there as well. If you'd like to just join for the tutorial, that's only $3.50 a month. So you could support me for that as well. There are a ton of other links in there. My Amazon storefront. If you'd like to see my art supply recommendations, you can check that out. All my other social media is in there. My commission form is in there. If you want a custom painting, all of that kind of stuff. So if you like my art and you'd like to support me in any way, the link tree is where to go and you'll be able to find anything you're looking for in there. So I highly recommend checking that out and thank you very much for any way that you choose to support me. It's how I can live and work as a full-time artist. I've done this for almost four years now, which has been really crazy. And I hope to be doing it for my entire life, to be honest. I do not want to stop. So thank you for your support. I could not do it without you. And I'm glad that you enjoy my art in any way. Okay, how is this going? If you're painting along with me, please give me a sentence on how this is going for you in the comments, just so I know where we're at mentally, spiritually, physically. Mount Hood painting just arrived in the mail. Oh good, I'm so glad you enjoyed it. Thank you so much. I appreciate it. Oh, so that's your, okay, gotcha. That's your handle. Where are you from? I am from Seattle. I grew up in the Seattle area. I lived there until I was 18 and then I went to school in California and now I live in Cincinnati, Ohio. My cloud is trash. You know what? That happens sometimes. And sometimes we learn the most from the paintings that turn out the worst. And so I'll just leave it at that. I believe in you. You can master this technique if you just practice a couple of times, I promise. What did you do for school? I love this and love the purple mix. Never thought to use burnt umber. I love adding burnt umber if I need to kind of dull down a color. In school, I studied psychology. That was what I was going to do. I was staring down a doctorate when COVID happened. I was starting to apply to grad school. And I think COVID really put a lot of things in perspective for me about what I want out of life and everything. And I had been an artist my whole life, but just didn't think of it as a career. And started posting and like having more time to paint during COVID because all my other hobbies got taken away. And I started making money. And I was like, you know what? Maybe instead of doing a PhD program, I just do this instead. And I'm very happy that I did. And so I'm very pleased with that decision and happy with where my life is right now. Okay. For whoever asked how I clean my palette, you're seeing it here. I just put a it was about something different too. It was about cleaning the actual colors in the palette. But here's how I clean this part as well. Okay. So let's get back into our painting. Admire you for following your passion. Thank you so much. It's scary, but I think it's so fulfilling if you're able to do it. And I do have a safety net. I have a family that would be able to take care of me if I really tanked, but I am self-sufficient for the most part. And I'm very happy to be doing that, but I always like to mention it's good to have a safety net. Okay. So let's get back to our palette here. I'm going to take this painting away in one second, get back to our palette. We are going to mix up our colors for the bottom section. So this is just going to be, I don't know if you've ever like driven across some fields, corn fields, or just grass fields or something when there's a thunderstorm, but there's also sun. I really love that contrast between like the yellow, bright green grass, and then the purple, really dark clouds. So that's the effect we're going for here. I might even try and make it more intense than this painting. So we're going to mix up just a couple of colors. Shouldn't need to do too much mixing here. It should just be the color straight out of the pan. So we've got yellow ochre, burnt sienna, and some sap green. So yellow ochre is kind of this natural looking yellow color. I'm going to grab some of that kind of golden color, I guess. We'll grab some burnt sienna, which is this rusty color, rusty orange color. And we'll grab some sap green, which should just be kind of a natural looking green. Those are our three colors. We're not going to do any mixing. They're going to mix on the painting. And actually, yeah, that's what we're going to do. All right, get that out of the way. Again, you should just be able to find those similar colors on your palette. Do you always recommend having your paper flat? When would you have it on a tilt? You know, some people really love painting with their paper on a tilt when they're painting with watercolor. I've never done it, and so I think it would be a tough transition for me, but some people really like it. And it can help to really even out some of the marks that you make, but it also pulls all the pigment to the bottom. And so you can end up with kind of a gradient effect when you don't want one. Like if I were to do that here, the top of the sky would end up lighter than the bottom, which is not what you want. You want this part to be lighter blue and this part to be darker blue. So I think it has an application sometimes for sure, but I don't tend to use it. But some people do really like it. So that's my, those are my thoughts. Okay, so what we're going to do is go in order from the yellow ochre to the burnt sienna to the sap green. Yellow ochre is going to go closest to the horizon line, then burnt sienna, then the sap green. But they're all going to kind of mix together on the paper, so don't really worry too much about where they're going. So start with your yellow ochre, and this is the trickiest part. You just got to get a somewhat even horizon line. If you used tape, that should be fairly easy, but I'm just going to try and follow along with this line as best as I can, while also moving somewhat quickly, because we want to get all of these colors down while the paint is still wet. So don't dilly-dally. It doesn't have to be perfect. There we are. Switch to my burnt sienna. Don't even bother washing your brush. It's all mixing together on the paper anyway. And that's just going to go right underneath the yellow ochre. Should mix together, and we'll go right into the sap green there. Again, don't even bother washing your brush. It's going to mix together here anyway. Okay, let's see how this looks here. That might be a little too intense. I don't know. Maybe... Okay, I might be calling an audible here, so just stick with me. So while that's still wet, I'm going to kind of use thin brush strokes to kind of blend all of those colors together here. Thin horizontal brush strokes. Let's grab some ultramarine blue quickly while this is still wet, and let's put some of that down here at the very bottom. I think that'll help. If your paper is drying, you can use some water to blend all of these together again. But while it's still wet, you can just kind of go back and forth between these four colors and create the field that you want. Looks perfect. Not intense at all. I think it looks more intense in person than it does on camera, but I think it does look okay. You can also use that dry brush technique to pick up some highlights in here if you want to. If it got too dark, just squeeze all the paint out of your brush, use horizontal brush strokes, and just pick up some highlights there. It can help look like little... like some sun on the grass there a little bit. But then we can just kind of quit messing with it. I'm happy with that. It always dries a little bit duller and a little lighter than it looks when it's wet, too, so just keep that in mind. This will lighten up a little bit. We'll let that dry there. How are we doing on time? Oh, we're good. We're good to go. We just have one more detail left. Sorry, you're gonna hear me sipping on my beverages. Okay, what else can I plug? I don't think I need to plug anything right now. Love the mixing palette, too. Oh yeah, let's plug the watercolor set. I'm really happy with it. I hope people have tried it out in the comments. I really love using it. The colors, like I said, are just so smooth. It goes down so smoothly on this, so evenly on the big areas where you're putting the color down, more so than my more expensive paints, which is really fun. So I really love using this set. How to find that palette? It's available on Amazon. You can search Artistro X Hannah MP, or you can go to the third tab in my link tree. So if you just click on the link tree in my bio, and then click on the third tab in there, it'll take you right to it. You're extremely smooth and rich. Thank you. I'm so glad you guys like it. I have it and it's growing on me. Well, I'm glad it's growing on you. I appreciate that. What is the watercolor set? It's the one that I helped design. When do you use white paint? That's a good question. Plug your Etsy shop. Okay, check out my Etsy shop. I have all my original paintings and lots of prints, lots of postcards, lots of bookmarks up there. So it's a great place to get a gift. Great place to shop to liven up your own home, your own space. Highly recommend you check it out. It's also in my link tree. Okay. When would you use white paint? That's a good question. So white paint is not technically watercolor because watercolor is transparent pigments suspended in water. You can't have transparent white. That just doesn't exist. White paint, in order to show up as white, has to be opaque. So any white paint that you have in a watercolor palette is technically gouache. Fun fact. So what you can do with white paint is you can mix it in with different colors. Maybe I'll just do a little demo here with the leftovers on my palette. You can mix it in with whatever color you're working on, and it'll turn into kind of a milky, more pastel look like this. It'll be a little bit more opaque. So it'll behave a little bit more like gouache paint. You won't be able to layer light on top of dark like you can with gouache, but you can see how that's no longer transparent. Like, you can't really see the paper underneath as well now that that's mixed with white versus the color that I just mixed that's not. Let's see if I can get that. It doesn't have any white in it. You can see the paper underneath that. I don't know if you can see that difference very well on camera, but you can see how, like, the paper is not visible through here. So you just get a little bit more of an opaque effect. You can still do a lot of watercolor effects with it, and people can, I don't really do it very much, but some people really make, like, really beautiful effects with adding white to their colors. So it's just an option. It's a stylistic option for you that you can try out, and it just makes this more like milky pastel tone. Usually you can't add highlights with the white that's in a watercolor palette because you can't quite get it concentrated enough, so for that you'd need like a gouache paint. I'll grab my gouache. So both are gouache, but the pan version is just hard to get as concentrated as something that comes out of a tube, so that's what I'll use if I'm adding highlights to a watercolor painting is like a tube gouache, but you could also try and use the white paint. So that's the Reader's Digest version of that. All right, let's go ahead and add our last detail to this painting. So what we're going to add is just a couple little trees kind of in the distance at the horizon line there. I'll show you the reference painting here. So the reason I like to do this is because when I'm painting photos like this where there's just a lot of flat ground, I find that the transition from horizon to sky is a little bit, like, jarring, and so it's nice to have some sort of transition object in the distance there at the horizon line to transition from the ground to the sky. So this could be like a low mountain range back here, some hills or something, or trees. So we're going to add trees today, but it's a technique that I like for landscapes like this where you just have a lot of open space. I feel it just helps to bring the two sides together. So for that, we're just going to mix together some Sap Green. I'm using my detail brush now, and we're going to try and keep this paint pretty concentrated. So Sap Green, Ultramarine Blue, there we go, and a little bit of Burnt Umber or Brown. You should just get a dark green. Mixing all three of those together, feel free to noodle with that color until it's what you want, but that's what that's going to look like for me, pretty dark green there. And I'm just going to use my detail brush, and I will zoom in for this technique here, there we go, and I'm just going to use my detail brush like I said, and I'm going to just add some short vertical lines right here where I want a little clump of trees. My brush is not behaving quite like I want it to. I want a nice pointed edge on that, and then we'll just bring that right down to the horizon line. Now you can add clumps of trees like this, or you can add single trees kind of out here like that. Maybe I'll add like a little clump right here, and I try to just vary the height of these little marks just to add interest, but this is also where you can fix any errors that you made, so like if you like over here you can see I went a little over the horizon line with my Yellow Ochre, so maybe I'll just use these trees to just disguise that part. This is where we can cover up the oopsies and then add in the trees. You can also flick up if that's more comfortable for you, so here I'm starting down and just flicking up with my brush to create those tree shapes. Either one is fine, but I'm trying to keep them small because I want the perspective to look like these are pretty far away and to look like the clouds are huge. If you have groups of trees like these and your viewer is like, oh those must be trees, oh they're tiny, oh the sky must be huge, that's kind of how that perspective works. So I'm just going to add, you can add as many or as few as you want, this is your painting. You can add just some singular ones out there, you can add little clumps like I said, and just feel free to add as many or as few as you want. I've been trying to learn to paint, I cannot draw but find watercolors relaxing. I love watercolors, they are very relaxing, and drawing is just a pursuit interest, like your talent is just a pursuit interest. I think that's what Bob Ross said. It just takes practice. Very few people are born with the ability to draw or paint. You do kind of have to enjoy it because you have to do it a lot, you have to be okay with failing a lot, and you have to learn from all the times that you fail. I still make plenty of bad paintings, pretty consistently, it's just part of being an artist, so anybody can do it. I was not born with any sort of special talent, I just like it, and so I keep doing it, and I've still got plenty to learn as well. It's really fun, like since I've been a full-time artist, because I paint every day now, I didn't used to, I didn't have time, I had a full-time job, I was in school, I can really, like my improvement over the past four years has just been so quick, just because I practice every day, I paint almost every day, so being able to dedicate the time to that, you get rewarded by seeing yourself improve quickly, but that improvement will happen over time, as long as you practice. It'll just maybe be slower, depending on your pace, so improvement is inevitable if you practice, and you're willing to kind of push yourself outside of your comfort zone, which is something I'm also working on. All right, so a little silhouette of a house would be nice, yeah, that's a good, that's a great option as well, something to add in there, you know, to kind of transition from the ground to the horizon line. I spilled some paint over here, let's clean that up. Okay, I am pretty happy with that, I think I'm going to go ahead and call this one done. Again, if you'd like to keep working, you can always do another layer on the ground here, if your paint dried a little bit lighter than you wanted it to, you could just do another layer with those same colors, same technique. You could do a little more detail on the sky here, but now that it's dry, I would recommend leaving it alone. You can add whatever you want at the horizon line there, so don't feel like you have to be done just because I'm calling mine done. I am going to sign my painting down here in the corner with some dark paint. There we go, and there we go, and since we did on a watercolor block today, we are going to remove our painting from the watercolor block. So it came with this little leaf tool, it goes right here in the gap where the pages are not bound together, just between this page and the next one. There you go, and then I just gently slide it around the outside. What'd you say? I found a painting three years ago, I've sold some paintings, and sometimes they're just so awful. I feel you. Sometimes the paintings are just not good, but that's okay, that's just part of it. It can be frustrating though. There we go, got all the way around, and then I can remove that. We've got a nice shiny piece of paper for next time, and then I've got my painting all separated. Sometimes there's a little glue around the outside, so a tiny piece of paper for next time, and then I've got my painting all separated. Sometimes there's a little glue around the outside, so it is watercolor session. Again, this paper is from Bauhong. It is available in my Amazon storefront if you want to just check that out, along with all my other art supply recommendations. Again, if you'd like to support me as an artist, you just click on that link tree. I've got my link to my book, Watercolor Wanderlust, my Etsy shop, my Patreon. This watercolor set that I used today is the one that I helped design with Artistro. That's available on Amazon and through the third link in my link tree. If you'd like to support me in any way, please feel free to do that. If you want to just follow me on TikTok, Instagram, YouTube, all of those things, that would be super helpful. This lesson from today should be uploaded later today. I'm going to give it a try to upload it. If it's not, it'll be uploaded tomorrow morning by the latest, so you can always follow along. Plus, all of the previous paint and sips are up there, plus some pre-recorded tutorials, so go subscribe to my YouTube channel. It's at Hannah Art and Prints. It's also linked in my link tree as well. Again, thank you so much for joining me. My next paint and sip will probably be next weekend. Remember to check on Thursday to see if there's a paint and sip on Saturday. It'll be at this time on Saturday. Oh, and if you painted with me today, I would love to see your painting. We usually do like a little art gallery thing, so if you want to post your painting, a picture of your painting, on your story on Instagram and tag me, it's the same handle on Instagram as on TikTok, Hannah MP, so you can tag me and then repost everybody's on my story. So, if you feel like sharing it publicly, again, just post it on your story on Instagram and tag me, at Hannah MP, and I will reshare everybody's painting so we can have a little art gallery in my story. Again, I really hope you enjoyed painting with me. I will see you again next time, should be next week, and I hope you have a good week.