8 Quick and Easy Winter Sunset Paintings for Beginners: 15-20 minute Watercolour Paintings | Geethu Chandramohan | Skillshare

8 Quick and Easy Winter Sunset Paintings for Beginners: 15-20 minute Watercolour Paintings

Geethu Chandramohan, Colourfulmystique - Watercolor Artist

8 Quick and Easy Winter Sunset Paintings for Beginners: 15-20 minute Watercolour Paintings

Geethu Chandramohan, Colourfulmystique - Watercolor Artist

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12 Lessons (2h 18m)
    • 1. Welcome to my Class

      3:05
    • 2. Art Supplies

      8:11
    • 3. Prepping the Paper

      5:08
    • 4. Project 1 - The Lone Tree

      13:31
    • 5. Project 2 - Winter Mountains

      11:26
    • 6. Project 3 - Winter Tracks

      14:34
    • 7. Project 4 - Following the Footsteps

      14:08
    • 8. Project 5 - Snowy Reflection

      12:42
    • 9. Project 6 - Snowy Sunrise

      15:39
    • 10. Project 7 - Winter Forest

      19:08
    • 11. Project 8 - The Glowing Shadow

      19:49
    • 12. Thank You

      0:23
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332

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16

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About This Class

Welcome!

Winter is one of the magical seasons of the year. It is the time for comfort, to sit back in our cosy corner, sipping a cup of hot cocoa or chocolate and enjoying our favourite past time. Have you ever trued watching the sunset or a sunrise on a cold winter day? It is almost impossible to watch a sunset and not dream.

What if we could combine a cold cosy winter day with a beautiful sunset view? Welcome to yet another beautiful class where we are going to explore our creativity with watercolours and walk away with some magical paintings to cherish forever.

We will be exploring the glorious beauty of winter sunsets! The colours dancing on the snow as the sun sets and the sky speaks to us in a thousand colours.

Each of the class projects are in real time, which will make it easy to follow even if you are a beginner. If you are beginner looking to learn watercolours, then each of the projects in this class is going to help you learn a lot about this beautiful medium and give you the perfect control over small paintings.


And if you are an intermediate artist, then the cute little paintings in this class is going to bring a huge smile on your face as you remove the tape on your masterpiece.

The first 6 projects of this class will take you less than 15 minutes and the last two, less than 20 minutes.

So are you ready to step out into the snow and watch the gorgeous sunset with me? Grab your art supplies and settle down in your cosy art corner and paint these magical scenes with me.

Meet Your Teacher

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Geethu Chandramohan

Colourfulmystique - Watercolor Artist

Teacher

If you have ever wondered how to be a pro with watercolours and wanted to be consistent with your painting habit, then check out this new class - 100 Day Project with Watercolours.

Your Day 1 could be any day! The class covers one new topic each week and the whole class is designed to suit your busy schedule. Each day's painting is going to take you less than 30 minutes! 

Join this class to explore watercolours like never before, learn every tip and technique with watercolours and develop a healthy and lively painting habit!

Explore these topics with watercolours:

Skies - clear, clouds and rainy day Night Skies - magical night skies with different colour combinations  Mountains - winter mountain, spring, sunset, volcano, Arizona mountai... See full profile

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Transcripts

1. Welcome to my Class: Winter is one of the magical seasons of the year. It is the time for comfort. To sit back in our Cozy Corner sipping a cup of hot cocoa or chocolate and enjoying the favorite pastime. Have you ever tried watching the sunset or sunrise on a cold winter day? It is almost impossible to watch a sunset and not dream. What if we could combine a cozy cold winter with a beautiful sunset view? Hello everyone. I'm an artist and engineer and an art educator. Welcome to yet another beautiful class where we're going to explore our creativity with watercolors. And what can we with some magical paintings to cherish forever. Today, we're going to explore the beauty of Windows, sunsets, the colors dancing on the snow. As the sunsets and the sky speaks to us in a 1000 words. As usual. We'll go through each of the art supplies that we need for this class in detail and start with painting are gorgeous sunset scenes. Each of the class projects are in real-time, which will make it easy for you to follow, even if you are a beginner. If you are a beginner looking to learn watercolors, then each of the projects in this class is going to help you learn a lot about this beautiful medium and give you the perfect control over small paintings. And if you bought an intermediate artist, then the blue paintings in this glass is going to bring a smile on your face as you remove the dead to reveal your masterpiece. The first six projects of this glass will take you less than 15 minutes and the last two less than 20 minutes. So are you ready to step out into the snow and watched a gorgeous sunset with me? Laughter out supplies and settle down in your cosy article. And these magical scenes with me. 2. Art Supplies: All right, so let us have a look at all the materials that we will need for this class. So first of all, most importantly, we need water color paper. So I will be using people from this Arches block. So this is how French brand argc, which is called pressed 140 LB and a 100% cotton before. So 140 LB means it's 300 GSM. That means the papers really take. So you can see the thickness of the paper here. This is one of the best paper for watercolor paintings. So I will be using this one over here. And I will be taking heat out of this paper and cutting them out into small ES6 sizes for all the paintings in this glass, right, to use any people which is of our discrete quality and has a minimum of 300 GSM or one for DLB. It will be really helpful for you to get all the techniques right. I will be cutting the paper into A6 sizes like this. So from two sheets of Arches paper, I have cut out a cheats. And this is what we are going to be using for the whole of this class. You don't have to be painting these paintings in the exact same size of paper that I'm using. You can use a A5, A4, or whatever size of paper that you have. You don't need exactly the same size. You can also go for sketchbooks instead. If you have any five watercolor sketch book like this one, you can also go ahead and paint on your sketchbook. So this one is the sketchbook from HER. So it's their perfect sketch book. This is also 300 GSM, a 100% cotton paper. So I always prefer to do my watercolor paintings on a 100% cotton people, which is of artist greed and 300 GSM. But like I said, if you have any good-quality watercolor paper, then you can go with the scene. You don't necessarily need to use the exact same material or the same rant that I'm using here. The next thing that we need a as watercolor brushes, of course. So I will be using a flat brush to apply water or undo my paintings as well as to do some background skies. But you don't exactly need flat brush. You can also use a pointed brush like bees ones. Very large brush that you have will suffice for this background work and also for applying the water. Then you need smaller size brush. Typically as I used to, or a size 41. Or you can go for a size one for the extremely dealing. So these are the Only main brushes that you will ever need. My smaller sized brush here is a size for. The next most important thing that you need, a is water Philippines, Of course. So here I'm going to be using the pains from white knights. So this is a Russian brand which is officially known as Neff skier, but literally and their brand of beans is known as white nights. So I have the duty and the pans as well. So these are full pants. And I will be using beans from this plant. But you don't need exactly the same time that I'm using. You can go with even a basic Ballad of watercolors is this one from here. So it is, there are Kwame set. So you can see that I just very basic cheats available. You can also go ahead with watercolor palette that you had. Because all of the paintings that were going to be doing today, the talers are not important, but rather the techniques is what is most important. The next thing that we need a watercolor palette to mix our pains. So I'm using this ceramic bowl here. So it's got three wells. And I will also use this other ceramic bowl for mixing my pins. You can use any water kinda ballad that you have and any space that you've got for mixing your beans. Even if it's plastics that are make or metallic, it doesn't really matter. So I will also be using this plastic ballot, which already has some sheets of White Nights filled in. So you can go ahead with whatever water color mixing ballad that do you have. Anything will do so don't worry about it. Then we will need two jars of water. So use any jar and fill them up with water. Because one would be to take freshwater to apply the water onto our painting. For paper, for the wet on wet technique. And the other is to wash off your beans in the water. So imagine trying to apply the water on your paper and you pick up this muddy water and you're applying, it will have an underlying color. So this is the reason why we use two jars. So one will always be kept clean and the other will have the dirty water in which again, washing your brushes. We will also need some paper towels, which will be helpful in removing the excess water from your brushes. So you can dab on the tissues and remove any excess water. You don't necessarily need the tissue itself. You can also use a cotton cloth instead. Next, we need pencil and eraser to make our sketches before we start the painting. So I'll be using a mechanical pencil like this one. If you're going to be cutting out the people from larger sheet of paper like I am doing, then you would need a scale and as well as a paper cutter like this to cut off the sheets. Or you can go with scissors as well. So I'll be showing you the entire process of cutting the paper so you can follow along. Then I will be using this wooden board for taping down my paper. So you can either use a wooden surface or any kind of gold that you have. You can also go for the double dot actually. So you don't necessarily need board. You can stick your paper on your table or your surface. We just need a flat surface where you can dig down your people. So maybe you can also use a hardcover book like this one, or a magazine or kind of flat surface that you can get hold of it to just be really hard such that it doesn't report what's underneath. And lastly, we need masking tape. So we're going to be using the state to take down our paper on all the four edges. So this is just a normal masking Dave, that I got off Amazon. You get these in normal hardware store was as well. Or you can use Washi deeds. So this is a washy date that I use in my paintings as well. Or you can actually go for the normal cellular Dave as well. You don't necessarily need the masking tape. So here is the cellular data. You can use this one as well. It doesn't really matter. It's just that masking tape is quite easy when you apply the paint because there's yellow tape has a glossy surface which could prevent that easy flow of the so these are all the materials that we need. So go with whatever materials that you have. I have suggested all the alternatives that you can use for continuing on with this glass. So let's get started and I will show you how we can cut the paper first. 3. Prepping the Paper: Okay, so let us now see how we can get the paper for the painting. So here is my Arches block and I'm going to take a sheet out of it. So these are nine by 12 inches and I'm going to be cutting them down. So for cutting them, obviously we need to take the measurements. So might be British nine by 12 inches, but your paper might be different. And if you prefer to cut it down like I'm doing, make sure that you take a scale and take the measurements of the whole paper and then divide it by. So here, mine is going to be along the length wise edge, six inches by six inches. So I'm just going to mark the center of it and draw a line. So here I have marked the center. And I'm going to be using my paper cutter to cut the sheet in half. So I'm being very careful here. So I'm holding down the scale with my hand, left hand, and then cutting along the edge. And after creating a groove, it's quite easy to cut down along the groove that we have created. So this is the process that I always do. I always actually use the rules of Archer's paper and I cut my paper out of them usually. So here I wanted to show you how exactly you can cut your paper down into smaller sizes. You don't necessarily need the paper gutter itself. You can go ahead and use a Caesar's instead. So now I have two sheets. So they're like six by nine inches wide. So I'm going to be cutting this again into half size. So I've marked the center again and I'm going to be cutting the center again. So you can see I've got it again into half creating small portions. Please note here, be very careful when using the Bogata. You don't need a God with the paper. Got her, of course. So here I have the two sheets cut out. And now I'm going to be cutting this other one as well. So you can see how out of a nine by 12 inch sheet of Archie's, I have got four sheets actually. So I'll be cutting the other one as well and we get four sheets. So this is an efficient way to use paper because arches is quite expensive as well. So I've only used two sheets here, and I have got a cheats in daughter. So isn't that really great? So this is what we will be using for all our paintings. Now, I will show you how we can Dave down are people onto the surface or the bold that we are using. Because we have to be extremely careful when we are dipping down are people. We need to make sure that all the edges are intact. So please your paper on the board. So I'm just placing it in the corner here. You can actually place them in the sense that if you want, then they the masking tape and stick it onto your paper. So you can see I've left a very slight border on my paper. You can have a large border or small border. It doesn't really matter. Do T depends on how you want to be deemed to be. So I prefer small borders and especially because this is such a small painting. So that is why I am going with a very small border. So get out your tape as much as you need it for the people. And then stick it very nicely and firmly. So after sticking the paper, we're not done yet. We actually need to make sure that all the edges are intact. So I use my scale to run a loan the edges and make sure that it is really intact on my board because I don't want my B bar or the paint to flow into the edges and to get a nice border. This is what you would do. So for all of the paintings in this class, I'm going to be sticking my paper like this and using these ones. So without any further ado, let's jump into each of the class projects. 4. Project 1 - The Lone Tree: Welcome to the first winter censored project. The colors we need for this project are Indian yellow, orange, grandson, ultimately in blue, burnt umber and beans gray. So don't worry that you need exactly these sheets. You can use alternative sheets as well. For example, for Indian yellow, you can use any other yellow such as Berman, India, Lu, or alien. And for Crimson You can use any of the red or roll sheet that you have. So the galleries that I have listed here, it's not really important. Just go with whatever sheets that you have. So starting with our pencil sketch, which is going to be really simple. So let us first draw a line in the center. So this is going to be the line of horizon. We will just be outlining the basic shapes in our painting. So after the horizon line, let's just mark the shape of a tree towards the left side. So it's going to have main branch and then maybe few small branches. So just randomly with your pencil, try and Mark few branches for the tree. It is going to be really simple painting. So after adding the tree, let's just add few lines onto the bottom part where it's going to be the detailing on the snow. You can do at least skip this and we can add it with the brush later as well. So it's not necessary. And there are pencils getters complete. So we're going to need a flat brush or a large brush, which would be quite useful to apply the water onto our paper. So since we're going to work with the wet on wet technique, we need a large brush. So I'm going to use my flat brush here. You can either use the larger size brush that you have or you can go with a flat brush. So I'm applying water to the whole of my beeper. So using a flat brush makes it easy to apply water to the whole of the paper. That's why I use it. Otherwise, don't worry, you can use the largest sized rushed or do you have? Then I'm using my brush size two and taking Indian near Lou and applying it to the DOM. So I'm applying it to the dark area of the horizon line. So this is going to be like a sunset landscape obviously. So apply and even good of Indian yellow from left to right lead using a swift motion. Then on the top of it we will add orange. So right where you stopped with the Indian yellow. There, you would start with the orange and move towards the top. So we're trying to create very beautiful blend here. So you can see. Then the next color that we will use is crimson. So on top of the orange, we'll start applying the crimson. So you can either use a red here or another rose sheet that you have or any of the pink as well. So you can see I'm applying it on top of the yellow. So when you add a rose on top of the yellow, it would turn into an orange or red sheet. So be very careful when you're trying to blend it. Don't blend it towards the bottom, rather move upwards. So this is the reason why we started with yellow and we're moving upwards. If we had moved our binding process from the dark towards the bottom, we wouldn't have been able to get a nice yellow shade on our paper. So onto the topmost area, we're going to apply blue. So here I'm using ultimately in blue, you can also use cobalt blue or any other blue that you have. So the blue will mix with the thing shade right underneath it to form a slight purple sheet. So that's alright. So apply the blue towards the top and we will just blend these guys together. So the next thing we're going to learn here is how to make our painting more vibrant. So when we apply the colors at first, it's going to be very light. So we need to keep applying multiple layers of paint to get it done vibrant. So you can see I reapplied the pink again and reapplying my yellow now. And observe how i did not move down the band. That is the pink paint from the top towards the bottom yellow part because then it would turn the whole yellow into a differentiated. So then date more yellow. And now we're going to add a bit of reflection on to this new area, the reflection of the sunlight. So first we added the yellow, then I'm taking the orange and I'm applying towards the right side in small strokes such that they joined the yellow where I stopped painting the yellow. So you can see just a small random strokes. All of this is possible because we're painting with the wet on wet technique. Now, we're going to take some blue and let us mix it with the thing to create a slight light violet sheet. So more of blue in the mixture. This would create a nice blue while achieved. And this is what we are going to bend towards the bottom. So this is the snow area and the yellow and the orange that we painted was the reflection of the sunlight or the sundries onto the snow area. And towards the bottom, it's going to be the color of the snow. Yes, I know snow is white, but then we need to add more colors on the snow to depict that begins when it's sunset scene. The Snowden's into these nice, beautiful bluish violet colors. So that's why we're adding this color onto the snow rather than leaving it white. Now, we need to blend the bluish violet shade onto the reflection area. Just few strokes, that would be all. So here you can see how it does stand out. We have to wait for this background to dry. So there now it has completely dry. And I'm going to be using my size for brush to add the rest of the detailing in this painting. So I'm going to be using band number. You can use any round that you have, the Brown that we're using here doesn't matter. So it can be permanent round Monday, Kay, Brown or any brown in your palate. So first of all, we're going to add the small bushes or trees further away along the horizon. So that line that we made almost towards the center, that's the horizon. So they're further off. We're going to have some bushes or maybe a group of trees. We just don't know what it is because it's kind of like really, really far away. He was a very smaller size brush like I'm using here and try to add some smaller detailing. So you can see I'm making these tiny line all the way on top of the horizon line. And now I'll mug along the horizon line that is stained along the horizon lying on a straight line. You can see so that on top of the horizon is what the bushes where. So we're just going to cover it up with the band armor. So as I said, don't worry about the brown veined. Just focus on the technique here. Focus on trying to get your brush to make those tiny little lines such that they seem like some kind of bushes or trees further away from the viewer. So fill up the entire area with the brown sheet. You can add a darker shade to it if you want. So at random places maybe tried to pin your brush in Bain's gray or black sheet just to get that, you know, defend shades of brown in there. That's what we're trying to do. So once you're finished with that Bush area, we will start to add our tree. So again, we need a really nice pointed brush here because our tree has delegated ranges and we have to try and get it really small. So this is the main part of our binding. So the tree is closer to the viewer and like in the front. So we'll add in the main branch. So you can see I'm using the pointed tip of my brush and adding the brunch. So you know how trees are. The trunk of your tree has to be thicker at the bottom part and it should be thinner towards the top. So you don't need to focus on trying to get a straight line here. It can be slightly bend. That's alright. So my tree here is going to have another main branch. So it's kind of like the main trunk is split into two, almost towards the bottom. So that's how I'm trying to be in this. You can have a totally different tree if you want. So this exercise is just. Trying to make us understand how to use our brush strokes, how to get the techniques right and do make use of the fact that painting honest smaller vapor is actually difficult than painting on a large piece of paper. This is because trying to get those tiny details right, that's the most difficult part. So you can see I have added two small branches or tweaks towards the bottom. Then again, using the pointed tip of your brush, try adding few branches. What are trees? So this is totally random. Just try to make some strokes. Always start from the trunk of the tree towards the outside. So this is one major thing that you need to take care of when we are trying to be in trees. That is, to try and start your branches from the trunk of the tree, add towards the outside. So when you do this, the way you paint the branch and then you lift off your brush, you would get a thinner line than the other way around. So that's why I always start from the trunk and then move outside. So you can see I just added fuse morale, plunges onto my tree. Just try to add random ranges, some on the left side and some on the right side. Then towards the bottom, you can add few small twigs or small das. That's it. So now I'm mixing my blue and Clemson again to create a nice while a cheat. So I'm mixing crimson and ultimately in blue. So, um, i, ultimately in blue is in the pan and the Clemson, I have taken it out of the deal and a mixed board of it to create a nice violet Jade. I'm going to use this at the bottom part of the tree to create them small shadows, that's it. Then some detailing on the snow we're going to be adding with this violet. So now the stroke is again wet on try. Just like the tree after the complete backgrounds has dried. Some lines on this known, that's it. Just random. So you can see how lightly I'm drawing this. Just tried to make some very light strokes, not too much detail. And some more towards the base of the tree. And there are simple sunset painting is complete. So this was like a very simple one, wasn't it? Let us remove the Dave. So be careful to remove your data away from the paper. Because that way your people would not rebuffed. And here it is. Here's the beautiful sunset painting. I hope you guys like this one. Let us move on to the next one. 5. Project 2 - Winter Mountains: Welcome back to the second class project. So the colors we, the need for this one is Indian yellow, or any other yellow? Alizarin crimson. You can also use any of the red sheet that you have ultimately in blue or cobalt blue band, Amber, and pains, Great. So instead of veins gray, You can also use black and the same with band number. You can use any of the ground chain that you have in your ballot. So the pencil sketch of this one is going to be quite simple. So you can see I have deep down might be here on all the four sites. And I'm just going to quickly sketch the shape of a mountain. So this is totally random, tried to make them small, hilly areas and maybe some bard of it, sharp. So you can see I've made one bq, which is kind of like sharp, and then add some other hilly areas towards the front of it. So just some lines onto our mountains. So we're just trying to mark the videos where we convened with darker shade or the Payne's gray. So just the areas where there are not snow. So just trying to maximize and there. So that's with a pencil sketch. So now we're going to be around the sky region first. So I'm using my flat brush here. So don't worry, if you don't have a flat brush, you can go with the largest size brush that you have, any brush, in fact, and tried to apply water on DOP. So remember not to apply water onto the mountain area. So we have to be very careful and paint along the edges. And remember, apply the water evenly without forming any large bulls or blobs of water. So if there is any large pools of blobs of water, just tried to move it outside of the paper. So here, now I've switched to My pointed brush. So this is my mob size do brush. And I'm using this to paint along the edges of the mountains because I have to be very careful and not paint along the inside of it. And appointed brush would be very useful for this. So then here I am taking my Indian Yellow first. So you can go with any alluded you have. And we will start applying towards the right side on to the vet paper. And we have to be very carefully along the edges again such that our pains does not flow into the mountains. So using Indian yellow, you can see I have painted the bottom part where the sky is touching the mountains. My paper is wet and I'm using the wet on wet techniques or when you're painting with a wet brush or wet paint onto a wet paper, it is called as the wet on wet technique. Then the next color that we'll use is Alizarin crimson. You can go with any other edge aid as well. And we're going to apply it right on top of the yellow area that we just painted. So we're trying to get some kind of like a blended sky here. But this is quite different from the blend technique that we used in the project one, because you can see we're trying to make some random lines. And you can see I've applied the red sheet on top of the yellow as well, just few lines where you're trying to get a different kind of blending here that is in the form of small lines. So I've added the red sheet and I've added a few lines on top of my red. Next, we're going to take the ultimate in blue. Or you can also use cobalt blue. And we will add the next line on top of the red from the right, say towards the left. So you can see, I have not covered the entire area towards the left, but just like a small lines from the right towards the left. Then I've taken the red shade again and adding it towards the dog. So you can see how that blue has joined the lead at an angle. And this is going to fly advanced blending technique. But I'm pretty sure that once you try it, you will see that it's very simple. So the next thing is, now we need to make up ending vibrant. Because when you're painting with a wet on wet technique, the colors would just spread away in the water and they would feed even treaty. So in order to make it vibrant, we need to apply the sheets multiple times. So reapply on top of the areas that he already painted in the same exact stroke that you applied earlier. So you can see, I'm reapplying the wretched. And you can also reapply all the other shapes as well. So you can reapply the blue shade and yellow as well, but just make sure that you are trying to blend them correctly and don't add any more water to your paper because that can lead to hard edges being formed. When you're trying to blend each stroke. The most important part here is to be careful that you blend along each of the colors. That is, if you started blending one color, then don't stop until you have blended the whole of the beeper. Because if you stop at one year, that is, you started reapplying the red sheet and you just leave it at that, then you are red area would have more water or more paint and it would just create edges along the other sheets. So this is the reason why you have to be very careful and not introduce any more water onto paper so you can dry your crush using a tissue. Then, once your background has completely dry, we will start to paint the details on the mountains. So this is going to be like a very cool technique to mean some watercolor mountains. So first, we're going to add the black lines on our mountains. So I'm using Payne's gray here. And you can use a mixture of beans gray and burnt umber together to paint the mountains. So just some lines and some strokes at random places. Use appointed size brush to get the best results and just add some lines here and there. This is totally random. So use a mix of both of these scholars, Payne's, gray and bond. So when I say beans Green, I'm trying to get a nice dark black shade so you can use Black also. So don't worry if you don't have Payne's gray because if you're using a basic valid you might not have been screen in it. That's completely alright. Also banned Amber. So it is just totally random. We just trying to add some dog rocky areas to our mountain. So there are lots of faces that I'm leaving by dt you can see that. So this is like completely random out of my mind. And if you ask me to recreate this, not be doing it in the same way. But you can see how I'm doing those strokes is just hidden there at random places. Then towards the right, this mountain, we're going to be interred in whole because it's kind of like in the front and it's dark mountain without an east new area. So the whole of it painted with black or brown. Then the other place is where Bill just add some random detailing it. Remember, use the tip of your pointed sighs brush to get the smaller lines at random places. Now, now is the interesting part. So now we're going to do use our blue shade to paint the snow on the mountains. We cannot leave it white. The reason being, this is a sunset scene. And during sunset, the Snowden's to a nice bluish shade. So we mixed up blue with red sheet, couldn't sin or Alizarin crimson here. And you can get a naive bubble sheet. And we're just going to add this on top of our mountains. So use a lot of water in your mixture and try to blend the whole thing onto your mountains. So you will see that the black shade or other veins, grey sheet that you applied, we'll starts to flow because your reapplying on top of it. And that is exactly what we want. We want that brown and black shade to slightly blend with the blue. So that gives like a very naive realism, kind of looked to our mountains. So you can already see some parts of my Gray has moved on to the other areas and that's all right. Then. Now take a medium dawn of violet and we'll just doc in certain media. So this is the areas where the shadow is like dominant. And in some other areas the shadows just going to be very light. So you can see on my mountain, I have differentiates of violet. Violet I applied using blue and red mixture. So the same Ayelet, first I use a lighter dawn. Then I picked up a medium Dolan and I'm applying it on top of the lighter, don't like we just applied. So this gives like a varying, don't own our mountains and makes it look more interesting. And just try to blend everything with your brushes. And once you've done that, that's it. That's really it. Your mountain painting is ready. Your windows unsaid mountain painting. Isn't this really beautiful? I hope you like it. So here, here's the final picture. Thank you for joining me on this one. So we have learned some advanced blending technique for the sky here. And then for the mountains. We saw how we apply different sheets of violet to get that beautiful look to our mountains with varying sheets. So that's it. 6. Project 3 - Winter Tracks: Welcome to the TED class project. So in this one we're going to look at some perspective, both ETL perspective and one-point perspective. So the colors that we mostly need, our Indian yellow, Indian gold, Alizarin, crimson, ultimately in blue, burnt umber and beans. Great. So don't worry if you don't have Indian gold, you can use an orange shade instead. And the same with the yellow and the other sheets. You can use any shade that is most similar to it in your palate. Don't really worry about the gardeners. So let us now make the pencils get. So first of all, it is going to be a horizon line. And note here, I'm going to make the horizon line somewhere almost towards the bottom because not exactly the words dissenter. So right below the center part of our paper. And then we're going to add rude on paper. So the rule is kind of like it's going to vanish here, b at 1. So you can see the two lines of the reward. They meet at 1 on the horizon line. So this is what is known as one-point perspective. That was all for the pencil sketch. So we'll get to painting first and we're going to be doing the veteran read technique. So again, we're going to apply water onto paper. So I'm using my flat brush here and applying water. And you can see here, I have applied what are only to the top of my horizon line, just right above the horizon line. So if you're using your large-sized brush, just make sure to apply the water towards the top of your horizon line. Then. Now I have switched to my sides. Do more Brush. If you're using the normal pointed round brushes, then use SIC exercise, eat flesh. And we will start with Indian yellow. So we're going to apply it as a straight line from the left towards the right onto the wet paper. Then the next color I'm going to take is Indian gold. So don't worry if you don't have Indian goals. Like I said, you can use orange instead. So it's almost like an audience sheet. So don't worry about it. And reapplying my yellow. So my yellow lines, I have applied all the way towards the right on top of the horizon line. The next color is Alizarin crimson. And I will apply this to words the right and left on the doll. So you can see I've painted somewhat kind of like in a staggered manner. Towards the left, it's a bit towards the top and towards the right side, it is at the bottom. So this is because of the extra space of Indian goal that we applied on top of the yellow. Then the next color is wild cheat. You can use a violet j directly, or you can mix of blue and rows or read together to create a nice pilot sheet. That's what I've done here. I've mixed Clemson and ultimately in blue to get a nice biology. I loved the mix of the blue and the red that gives the violet rather than using the fresh wildly from my palate. So here what I wanted to show was another blending style, where we're blending art galleries in different angles. And another reason why I mix my pains that is to get the writer Jade is by varying the amount of red and blue in your mixture, you can change it to a light pink shade and a dark violet shade. So you can see towards the right, I applied a Pink shade, but that's only because I've got more rows in my mixture. Then let us add few clouds with the Alizarin crimson. So the clouds, I'm just using my pointed brush and dropping the pinned on to my yellow and just very small drops of paint. And you can see how those pains I've created a naive cloud shape. Then I'm taking my blue again and mixing it with the thing. And I'm going to apply this on top of that louds. So I just want my clouds to be kind of like a red and violet mix. So that is the reason. And so the red clouds are going to be towards the top of the yellow and the violet bluish clouds are going to be towards the top of the blue region that we have applied or the violet region. So you can see it's really simple. Now, the next thing that we're going to try is we are going to see the aerial perspective. So when we see aerial perspective, it means that something in the ADL views. So we're going to have some kind of a hill or some bushes towards the horizon. So this is different from the one where we did in project one. Because in project one, we did it with the wet and dry method. But here our background is still wet and we are applying the Indian yellow onto that went in. So you can see that when you're applying, it is kind of blending along with the background that a slightly flowing and that's all right. So this gives like a blurred loc2 are bushes. So this blurred look, we'll give it more of like an aerial perspective. So when something is kind of like far away in a picture, you would draw it less detailed and more blurred. So that is what is known as the ATO perspective. And when you come closer to the viewer, it would be more detailed and more visible. So on top of the Indian goal, we will add Docker dune. Here. I'm adding burnt umber. Again. This is using the wet or dry method itself because my sky region is still wet and you can see how I've got it to be looking like a really nice Blurred effect. And this is because of the wet on wet method. So make sure that your precious kind of like damp and not a lot of water. Because if you're using a lot of water on your brush, then the whole thing is just going to flow away. So even though we're using the wet on wet technique, made sure that there is less water on your brush and more of the paint. So I'm just adding few trees with my band on birds. You can see just some lines onto my horizon. That's it. Here. We don't need to wait for our sky region to dry. You can go ahead and paint the bottom part. Because even if you apply the water, your yellow paint and the brown bean that you just applied is going to flow towards the bottom. I agree, but that's all right here. Next, we will take the Indian gold and we will apply some random strokes onto paper. So wet the paper fest. Don't forget that. Then semi-random strokes with Indian gold for the reflection on the snow. Then back to creating the violet shade. So I'm creating my violet cheat by mixing ultramarine blue and crimson. So more of blue in your mixture so that it's closer to the blue side than the pink side. So we don't want it to be a red violet, but rather a blue violet. So you can clearly see how I have applied my paint. And onto this no region on to the wet vapor, we will apply this. And when we are trying to veins near the yellow region, we have to be careful that our blue does not mix with the yellow to create any green shade. We don't want a green shade on our snow, right? So just be very careful. So all of the Docker mixture to words the outside IIT. And as you move towards the yellow region, try to make it more diluted so that it does not create any green. And use simple strokes with your brush. Just own the dog as a line. And you will see that it's perfectly blending together if you papers but enough. So there are few lines, that's it. So you can see I'm creating the violet by mixing my blue and being together. And as I said, I mix them together just because of the fact that by just changing the amount of blue and the pink on my paper, I am able to change the color of the wireless neural after the background is completely dried, we will move on to adding the roads on our paper. So I'm adding the reward again with blue while a cheat. So very little crimson in the mixture and mod of blue, which will give me a nice blue violet cheat. And this is what I'm going to be using for painting the road. So the road or it's not exactly route. It's kind of like the vehicle tracks. So some kind of vehicle drag on the snow area. Again, following the rule of one-point perspective. So you can see the tracks are like vanishing the words 1. And when it comes closer to the viewer, you can see more of it. So that's the one-point perspective rule. When you're painting. This is quite useful when you're trying to be rude or a train track. Some kind of object that vanishes off towards the horizon. So we're painting this with the wet over dry method because our paper is now completely dry and we're applying wet paint on top of it. And the lines are just totally random. I'm not trying to make any or, you know, exact lines is just, I'm applying my brushstrokes at random following the shape of the track. So these are just like shapes on the snow. Then using a damn brush, I'm just gonna move my brush along the paper and let the paint gets applied on it so the flashes really dry and make sure your brushes dry. So what do you do is you can try being on the outside or another paper until your brushes almost dry. And then you're running your brush over the paper. So this creates like a dry brush method. And this is actually called as the dry brush technique. So this is more seen when you paper has a rough surface. Don't forget the hat. Now, we'll add them, the dealing on to our landscapes and we'll add a tree towards the front. So this is what I wanted to show again about the ADL perspective. So you know, those trees and bushes that where in the background further off along the horizon. We painted that in a blurred picture mode because that was kind of like really far away. And this tree that we're building right now is closer to the viewer. So that is why every single stroke, every single branch of the tree is going to be kind of like detailed. And that is why blue draw the branches in a very detailed manner. So that is the basic rule of aerial perspective. That is, things that are far away would be less detailed and more in a blurred way. And that things that are closer to the viewer would be bd. So I hope you have understood that. So let us get to painting the branches of the tree. So this is exactly going to be similar like the tree that we painted in the project one. So using the pointed tip off your smallest size brush tried to draw the branches of the tree. And as I said before, tried to make sure that your branches are such that each of them originates from the trunk. So your strokes make them such that from the trunk towards the outside rather than from the outside towards the drunk. Because when you draw from the trunk towards the outside, your strokes will get thinner as you go outside and will give the perfect shape of the branch. So there you can see almost done with the main tree. And I'm just going to add few smaller branches and twigs towards the bottom because I just don't want my tree to be standing there as a lone tree. So you can add more branches or you can add more trees towards the bottom. So here is the final painting. I actually forgot to click the record button while I will removing the masking deep. So that is why that part is missing. But here it is. So we have learned about Yale perspective to make something blurred in the background. And then the one-point perspective about the vanishing point and about adding detailing to the foreground. 7. Project 4 - Following the Footsteps: Welcome to the fourth class project. So we're going to paint a nice pinkish sky with the winter, of course, and some footsteps on the snow. So the colors that we are going to be using here are carmine or Quinn rose or any roles for that matter than a white lead, burnt umber paints green. Yellow suggests engineer Lu Arabian permanently ALU and scholars. Let us talk a simple sketch on the papers. So it's going to be another line in the center. So that's the horizon line. And we are going to add some little zigzag towards the middle. So it's going to form like small mountain or how Hill. And on top of this hill, we're going to add a tiny house. So it's a house in the distance, a cute little window House. So just draw the shape of the house. So you can see very small, just a triangular shape and few lines. And then we had snowy roof. So that's why it's got a bit of thickness because of the snow on it. So the sketch is going to be quite simple that you can follow along. And then we'll add a small chimney towards the top of the house, on the roof and at tiny door. And we know from the house there. So our house already looks really beautiful. Then we'll have some far-off backgrounds, bushes and trees towards the back. And that would be all for the pencil sketch. So to get started with our painting, we are going to be first working with the wet on wet technique. So I'm going to apply water onto the sky region of our painting. So I'm using my flat brush here to apply the water. But you can use any size brush and just apply the water. Just began flew around the house. We don't want the water to be on top of the house. So along the edges of our Benson sketch. So this is the main reason why we draw a pencil sketch so that we can paint around it. So apply the water evenly without any large boots or blobs of water. There. That's it. So now we'll start to apply our colors. So we're going to start with Clemson or Garmin. So a nice being shade. And this is what they will start with at the bottom, right on top of the horizon line. So this is where we started applying our water. So about the horizon line, apply the being shade. You can use your pointed brush. You don't necessarily have to be in with a flat brush itself. That's Alright. So I'm just using my same flat brush that I used for applying the water. Just use any brush that you have and apply them onto the vet paper. So you will see that European starts to spread and create and naive. Wet on wet effect on the paper. So again, very careful around the house. So here this is mirror pointed brush is going to be really useful. And just using the tip of my flat brush, you can see that. So apply the paint multiple times if you want to really get it nice and vibrant because the pain tends to get lighter, because it's spreading a lot and it would sink in into the paper as well. Then the next day that we are going to be using is while it so you can either use permanent why lead or any kind of why LED. And if you don't have wireless, you can actually make a blue and pink together to get a nice while a cheat. So here I'm adding the violin towards the top and you can see and applying it on to the wet paper and blending it with the Carmine that I just applied. So we will re-add the Carmine are dipping shade. So we're going to add this multiple times and to create a nice perfect blend between the two. That's what we're trying to achieve. And because of a produce bed, it's really going to be easy to get that blend on our paper. So now I've switched to my size to mop brush. And I'm adding the violet again. And I will also add the Carmine again and mix it very nicely. So this is how I'm creating the perfect blend on my people were working on the wet on wet technique and only because my B prime is still wet. So if your people have started to dry, then don't reapply. The next, I'll switch to my size for brunch, which is a really small size. So switch to your smallest size brush and use band number. So our sky region is still wet from the veins that we just applied. And we're going to use the blurred method again here, just like we did in the previous project to get that blurred bushy background further away in the picture. So using burnt on merges added towards the top. And don't really worry if you paint has tried, you can just go with the wet or dry technique. It is not going to make much of a difference. It just means that your background is not going to be blurred. That's it. That's completely alright. So you can see I've just applied the band from the left side towards the right side of varying lengths so that it resembles the luca off some further of trees or bushes in the background. So we're going to apply this right towards the left side of our house, and then towards the right side as well. So take a nice dog consistency of your burnt umber and add this. So you can see towards the right side, my being had started to dry and it's almost looking like a wet own rise drug. So that's why I said it doesn't really matter if you've been intense dried. You can just go ahead and apply it. Now we wait for the whole of our background to dry before proceeding on to the ground. So until background test drive, we will start to wet the bottom part. So this is where it's going to be the foreground or the snowy region in our picture. So wet, the whole of that region. Even the top of the hilly region where our houses sitting on, just apply the water and we are going to be adding violet and mix a little bit of blue, indigo, violet, just a very little amount of blue into the violet. So it's going to be like a nice blue violet shade. And this is what we are going to apply onto our snow region. So as I said, again, this is going to be like the color of the snow during the sunset. And we will apply a more darker Don't towards the bottom. And it should go lighter as you go towards the top nearest to the horizon. This is because the foreground region, or the darkest color is towards the viewer right below. So that's the reason why we're applying a Docker down towards the bottom. Then, using a nice darker dawn of violet, we will add some darker shades own to the hilly region. So this is just to show that there is some extra hilly region in that area. But we don't want it to be too detailed because it's kind of like really far away from the viewer who's standing at the bottom side. So you can imagine that the viewer is almost towards the bottom and has taken this picture. So that's why these houses like really far away and so are the hills. So take more off the darker tone of violet and apply it towards the bottom. So you can see I'm darkening the bottom part. Now. I'll paper's still wet and we want to add in the footprints so they can nice dark dawn or darker consistency of the wireless. And just stab your brush on a tissue. Just because we want to make sure that it doesn't have a lot of water. So remove any extra water and use the tip of your brush. And just Babbitt on the paper like a small footstep. We're trying to create some footsteps onto the snow leading towards the house. Here, we're going to follow the perspective rule again. The footsteps are going to be bigger towards the bottom. And then it would go smaller as it goes further away leading to the house. So you can see I've added big steps towards the bottom and then just small dots as it was nearing towards the house area further away from the viewer. Once you have added that, we will bet the region of the roof of the house which is covered in snow. So we're going to paint that as well because we can't leave it white. So we're going to add a violet shade. At the dawn of wireless onto the top of the house. And some random dark shade to the left and right. So you can see the varying don't that I have applied. So it was a lighter tone of violet and then just a few spots of Docker don't own to the wet paint so that it, you know, spreads and create a nice Docker don't. And then along the triangular area, We will also apply the violet again. Then once the roof region of the house has tried, we will be in the house. So owned. The windows, add some yellow door and the door as well, so it depicts the light inside the house. And then we don't need to wait for the window region to try because we just wanted to create a nice lending effect here. So we'll take a nice edge sheets such as scarlet or carmine and add it to the house region. So you will see that your red beans spreads and there's very little amount of yellow left, but that's all right. Then onto the top of the red, we're going to add some burnt sienna or bond on bushy to create some nice shadows for the snow. So just onto the wet paint, that is the wetter edge being the digits applied. We will add the brown paint on top of that. Then we'll paint the right side that is the front of the house as well, in a similar manner. So around the doer, use the red sheet. Just very carefully within the pencil sketch alone will just paint the whole of the house is red. And then we're going to add some dark sheets with the burnt umber or a dependency and know they're picked up the darker but CNN shade. And I'm applying it on top of the red to create a nice shadow for the house. So that is going to be like a shadow from the snow. So you can see f Gvd, the front part with almost the ground sheet. So it looks really beautiful when you have that brown shade on top of Jared's because it creates a very beautiful blend with the shadow. So now I'm switching to my smaller sized crash. So this is a rigor brush that is helpful in binding trees, but just go with the smallest size brush that you have with a nice pointed depth so that you can add some fees, just like we've been adding for the other projects. Just add some small trees right next to the house. So these are winter trees. You just need to add the branches. That's it. Randomly. Some line towards the top and some main trunk and some ranges. Remember to use the smallest size brush and the tip of it. You can try practicing this on a separate piece of paper first before you painted onto the painting. Because we don't want to create tick branches. We want it to be really thin. And here are painting is complete so we can remove the tape. Always remember, remove that, Dave. Such that your pulling it away from the paper. That is very important. And here, this is our final beautiful wind dozens of painting. I hope you liked it. 8. Project 5 - Snowy Reflection: Welcome to the fifth class project. And for this one we're going to create a beautiful wind dozens of painting with some water and reflections. So the colors we're going to be using, Permanent red or scarlet button, CNR, Bund, Bain scrape permanent yellow or Indian yellow, permanent why lead or any Violet? And if you don't have wireless to congest, makes your blue and red together to create a nice while a cheat. So let us start sketching first. So we're going to create just a very simple penciled sketch, draw the horizon line first. And then we're going to add a slanting line like this to add the portion where the water body is. So just join it with the other end and then we'll have a tree in the front. So just a very small tree, add a few branches just as a place holder for us to know how we're gonna paint them. And then the background wishes or trees there. So this pencil sketch was really quick and simple, right? So we're going to paint the sky region first, that is the background. So we're going to be using the wet on wet technique. So let's apply the mortar. Apply water evenly onto paper. Make sure that you don't have any large blobs are pools of water. Use any branch. It doesn't really matter. And then we're going to start with our permanent yellow or Indian yellow. And using this we are going to apply a very nice good of the Indian yellow onto the sky region. So you can see I'm applying it really vibrant. Oh, I've got it in a very naive concentrated consistency. Then the next color that we're going to take is carmine. Or you can go for Permanent red or permanent rows. So we just need a nice rows sheet. So you can also go for Alizarin crimson instead. And this is what we will paint the words the dog. And we will try to blend this nicely with our yellow paint. So don't apply the yellow very straight line. We just wanted to create some shapes in the sky. So you can see I've got the yellow at uneven places so that I can mix the Crimson at random places. So we pains with yellow again so that we have some in-between the shade. And remember to apply the paint multiple times if you need to create it vibrant. Then next thing is we're going to paint the reflection in the water. So the reflection in the water here is going to be exactly as it is in the sky. So this is the reason we'll apply the water first and then we're going to apply yellow on it. So let's extend our yellow to words. The bottom part where the waterboarding is. Then towards the bottom part of the mortar boards, we will add our God minor crimson. And you can see I'm blending it with the yellow. So take the thing shade and added towards the bottom. So here only a little part of the being shade is going to be seeing the other whole VD is going to be a loop. So just towards the bottom, we will try to create a similar blend like the one we have created by the sky. Just some lines onto our yellow paint there. Now I'm switching to my size for brush and I'm going to take Valencia Now. So loaded flash with a very nice concentrated amount of C and L. And we're going to add the wishes or the hills in the background. So again, this one is going to be with the wet on wet method itself because our sky region is still wet, although it might have started to dry, but that's fine. We don't want it to be dual, blurry and too clear. So even though it has dried, it really doesn't matter. You just going to create this small hilly region, the words the horizon. So that's like on top of the line that we drew. So we apply the events E and F. So now we need to create a flexion of this hill onto our water, right? So we're going to take some band and we're going to talk on a hill first. So just lets the bottom part of the killed region that is right about the horizon line will just add some docker dune. So the first color that we used was burnt sienna, and then we're adding burned. So if you're using a basic palette, you can make CR Brown with a little bit of lag to get a nice Docker sheet. Then using the same band on, but we're going to add some deflection into the water. So we just adding this brown on top of the yellow and try to blend that into the yellow by taking more yellow paint. Or you can use water to blend it. So you can see I am trying to blend it and I'm using my brush to blend the Brown as well to create that perfect look of the deflection. And you can see, I'm trying to create a gap between the real part and the reflection part. So this would give the deflection naive real look. So that's why I'm using my brush to try and lift off some paint towards the middle of the reflection. Then. Once your background has completely dried, we will be in the snow, no. So we're going to paint with a retinal wet technique again. So we need to wet snow region. Remember, this is after backgrounds has completely tried. That's when we start applying the water. And once you have started applying the water first will create some, some very few lines for the deflection of the sunlight on the snow. So we're going to add that Indian yellow onto us. No jest right towards the left side. And then the rest of the areas we're going to paint with Violet. So become a naive medium, dawn of violet. And we're going to add this to the bottom and the whole of the snow. And the more darker sheet is going to be towards the very bottom part. So use the tip of your brush when you're approaching the water body because we don't want our violet pained to be spreading on top of that. You can pick up some more yellow and add some tiny strokes are tiny lines if you want onto the violet. Just make sure that you take a nice amount of yellow. Otherwise your violet and yellow can mix to make brown on the paper. Had the Docker tone of violet towards the bottom. So that means the more darker side towards the bottom, add more sheets onto the wet paper. And here now the snow has completely dried. So you can either wait for it to dry or you can use a hairdryer to dry it up. And now we're going to add the tree. So we're going to use our band, umber shade. So mix a nice amount of band. I'm better on your palate. And start doing the tree. Remember to use the pointed tip of your brush. So get your smallest size brush and tried to use the pointer diff to create a naive tree with few branches. So we'll have the tree with two main branches. If you have been following me along in the other projects, then adding this tree would not be really difficult for you. I'm pretty sure of that. So just relax and putting those strokes, let go of all your shell when trying to paint those thin lines. And just go with your instincts. Just try to move your arms on the paper very slowly and creating those thin strokes. So the key thing is trying to use the tip of our graph and to move outward from the trunk of the tree. Add in as many branches as you want. If you only want to add just a few branches, that's also fine. Or if you wanted to add a lot more than I'm adding, then that's also fine. Ok. So now I'm going to pick up more violet and we're just going to add a few drops of why lead on to the bottom part of the tree. This is because I don't want it to look like, you know, without having a shadow or any effect on the snow. Otherwise it would look really weird. So that's why we just add a few drops of why lead to the bottom part. And we can add some tweaks with bend CNR. So using the tip of your brush tried to add in some few tiny detail onto the bottom part of the tree as well as some areas of the snow. Then picking up pilot again, I'm just going to add some few very small lines on the edge of the river or the water body on the snow. So just a few drops of violet with your brush and then try to blend it. Next, I'm going to take bond and I'm going to add a tiny fins here. Well, this was not part of the painting when I started with the penciled sketch, I thought that we cannot this fence and tried to make it really more interesting. That is our painting. So just a few lines and try to join them with a small head kind of flying. So not a thread. So you know how it is just a very thin line, and that's it. So once you've done that, the painting is complete, you can totally skip that if you want. So here, removing the tea to review the file painting, Ooh, it's looking so beautiful, isn't it? 9. Project 6 - Snowy Sunrise: Welcome to the sixth class project. So this one is not exactly a sunset, but it looks like a sunrise with its sundries falling and TOEFL the mountains creating a very nice reflection on the snow. And the colors we're going to use for this one are Indian Yellow, Tail, blue in Gingold Bund, A-B-A means green, yellow ochre, and cobalt blue. So don't worry if you don't have Indian Gould, You can any orange and yellow blue, you can use any of the blue that you have. You can just go ahead with the cobalt blue or ultramarine blue itself. So don't worry about the shades exactly. It can be initiated the one, don't worry about it. Ok, so let us start sketching our mountains now. So we're going to sketch some few lines on our paper for the mountains, just follow low. So it's going to be having a really nice Healy shape here. And then another layer of background mountains. Just few small beaks. So it can be larger and smaller beaks just in some random sheets. And then another hill towards the bottom here. And let us start painting the sky. So again, I'm going to be applying the water for the sky. So this is going to be again, the wet on wet technique. So I'm applying the water with my flat brush. Use any of your brushes and just apply the paint evenly onto your paper without forming any large blobs are pools of water. Then switching to my site, full brush. And I'm starting with Indian yellow. And I'm applying the Indian yellow onto the paper. And write about the mountains so carefully along the edge of the mountain because we don't want our water to be flowing on towards the mountain. So just right above it, very carefully, apply the Indian Yellow. Then the next column, we're going to add a Indian Gould. So Indian gold is very nice, beautiful, big mins consisting of yellow and red mixed together. So you can actually go with an orange sheet if you don't have Indian yellow. And if you're using a very basic palette, you can actually mix your red and yellow to create this beautiful orange sheet. And we will just add some random lines onto Skype with the yellow. Somebody small lines. We're just trying to create an interesting feature do sky. Then the next color that we're going to take is tailored blue. So I'm trying to create a sky by using blue and yellow, but without creating any glue. So we will just see how to do that. I'm applying the glue onto the empty spaces, that is the white regions. But while I'm applying and trying to be very careful to not touch any of the yellow regions with my blueprint. So that's really important in order to not create a green shade on our paper. Because as you know, blue and yellow will mix together to form Green and we want to avoid that. So tailored blue that I'm using here. And the endanger loaded up used, both would create green if mixed together. So that's why we will use water to blend regions and apply the blue paint for those regions where we do not have the Indian yellow that St. whitespace is that we left behind. And can you see the gap of white that are left there? So we're going to leave that glowing that it resembles the sun. So it's like the glowing sun in the morning. And the blue and the blue multiple times to create a very nice vibrant sky and don't apply anything to the right region. Then once the sky has completely dried, we convened the mountains. Again. We're going to be painting with the wet on wet technique on the mountains. So apply the water onto the top region of the hill, just the background mountains. So the white region that we left is going to be like the glowing sun. So we need to create that glow on the mountains as well. So this is the reason why we are using the wet on wet technique. You will see just in a moment how we're going to create a nice clue in our mountains. So apply the water evenly. And then we're going to start with Indian yellow. Try it where the glue is. But you can see I've left a slight gap of white on the mountains as well. So first yellow and then Indian Gould adjacent to it. So use orange if you don't have Indian goals. So right next to the yellow, we add the Indian gold or orange. Then the words, the further ends of the mountain, we will be adding band Amber. So blend the Indian goals with the Bund. So now do you see the reason why we apply the water onto our people for the wet on wet technique. This is because we wanted to create a nice, perfect blend between the band, a bird, Indian goals and the engineer Lu. So towards the further ends where adding the ground cheat create a perfect blend between the yellow, orange and brown, or in my case, yellow Indian goals and round. So we're trying to create a very nice transition. And also be careful along the edge of the mountain. So we don't want to be going towards the sky. So just very carefully. And now you can see that for low in my mountains, right? How the yellow, orange and the Brown has created that really nice glow from the morning sun. So this is like a very beautiful sunrise, isn't it? So the region where you have left white, remember to leave it, bite itself. And now we're going to add some pine trees in the background. So we're going to paint in the wet on wet method itself, but with very little water in our brush. So we have to have more paint in our brush than water. So this is the reason why I dabbed off the extra water on my tissue. And we're going to add some blurred trees in the background. The reason why I'm making this blurred is because this is like kind of the mountain that is really far away. And so are the trees there like far away. So this is a rule of ETL perspective and paintings. When some objectives far away, we don't draw it detailed. We tried to make it in a blurred and bad grown manner. So that's the reason why I'm going with a wet on wet method. So I used Payne's gray. And why you're approaching the glow. Again, we need to create that glow in our tree is as well. So I've switched to burnt umber. When I reach the glow and right away you reach the center part of the globe. We will take orange or the Indian gold. So can you see the transition between the trees as well? So fast I started with pain scale, then moved on to band Amber. And then in the vendor number, I started along with the Indian Gould. And again, I'm going back into the Bund umber towards the right side. And once that glow region is completely over, you can go back to the Payne's gray or black sheet. And we will start adding the trees towards the right side. So you can see the words that right side, my paint is almost completely dried. So i'm going with a wet and dry stroke now. And I'm trying to fill up the whole region. But towards the top, I've added few lines to make it look like pine trees. So this is like a pine tree forest, which are so clustered together such that you only see the dips clearly. So try to add some few detailing onto the depths and make sure you make that transition from the paints gray and brown and Indian Gould, such that they do not form so odd in our painting. Now, we'll get onto painting the hill. So this is like the foreground, and this is going to have some nice real reflection of the sunlight on the snow. So we will add it with water fast, so very carefully along the edges. So do this after the binary layer has dried. So either wait for it to dry or you can try it quickly with a hair dryer. Apply the water evenly. And then I'm going to use yellow ochre here for adding in the sun's rays. So now I'm going to tell you something about yellow Orca. So yellow occur is an opaque pigment. So when I say Wake, it's one of the properties of watercolors. And it's obesity will not let it blend easily with blue to create green. So actually, it is a very good color. If you want to paint the yellow and blue together, it would not mix easily with the blue to create greens. So here we apply the Indian yellow towards the top of the hill region. And then I'm picking up my cobalt blue and adding it to the rest of the region of the hill. So you can see, I've added it adjacent to the yellow ochre and it's not mixing with the yellow grid to create ugly. So this is a good shade if you want to use it for skies. The reason why I did not use this first guy is because I wanted to show you how you can actually bend yellow and blue together without mixing green and without using yellow ochre as well. But here we needed to be adjacent. So at the bottom here on the Hill and using yellow occur. So cobalt blue onto the hilly region and more cobalts blue towards the bottom. And try to create some lines on the snow. Then some more yellow ochre towards the right side as well, adjacent to the blue. Again. There. Now we are going to be the bottom bar. So you can wait for your cobalt blue layer to dry. And the foreground here, so this is the most foreground bar. That is the part that is like right in front of the viewer. And we start with yellow ochre again and we apply it towards the top. So this yellow is kind of like the, a reflection of the sun's rays on our snow, which is creating this yellow glow on the snow. So add some lines and leave some whitespaces for the blue. So you can see I've left too large whitespaces for the snow, which I will add with cobalt blue. I'm picking up my cobalt blue and I'm adding to those places. And you can see how my pained did not create a green shade. Next. That is this gap on the right side, which I did not paint with burnt umber. But if you did pay into bundy on but that's all right. I'm just trying to add some tiny detailing on my mountains in the corner. But since those mountains in the background, I don't want it to be too much detail, so I'm just spreading them with water such that they look like the background. So this is kind of like how we did our mountain project. That is the project number two. You can add a bit more yellow ocher on the top to make it a bit more prominent, vibrant. Remember, don't apply more paint. A paper has completely dried. Let us now remove the tape. So that was really beautiful and quick one, isn't it? So we learned how to apply a yellow and blue together without diving into green in two different ways. Isn't it? Animals are about yellow ochre. 10. Project 7 - Winter Forest: Welcome to class project seven. So this is one of the two which are the longest. So we will learn to being this beautiful sunset scene with some birch trees in the background. And let us have a look at the colors that we need. They are Indian yellow, Alizarin crimson, Indian gold band, Amber, cobalt blue, and Carmine. If you don't have cobalt blue, you can also use any other blue and so is the same with any other colors. You can go with colors in your ballot. You don't necessarily need exactly the same colors that I'm using here today. Let us start with our pencil sketch. So we're going to have slight hilly region in the background. So this is going to be the snowy backgrounds that we have. Actually, this is a line that has a printing the background and the foreground. Then we're going to have some trees in the front. So just make the trunk of these trees. So they're going to be some birch trees and maybe some other trees as well. So that is what we are trying to sketch, just the random sketch of the tree. And as you can see, I'm also not making them Street, just trying to draw the shape of the trees by random method that is trying to bend at some random place so that it looks original. We don't want it to be totally straight. And I've added two trees to the right, and now I'm adding do trees in the center. And now let's add another tree to the left, some more trees, in fact. So slowly and make sure that each of these trees are not in the same line. So this is the reason why I add a line at the bottom part or a curve and then make the tree from there. So it's kind of like these trees are at different levels on this knows that they're not like in a flat surface. And make sure the trees are of varying lengths as well. That is the thickness of them. Then. So ideally we should be building these trees by masking them using masking fluid or something. But I wanted to teach you how we can do that without using the masking fluid. So we have to make sure that we don't paint on top of the trees because they need to be white. So what we're going to do here is we're going to apply water to the areas that are between those trees that is skipping the area of the trunk region. So we'll apply the water to each of the areas. So my paper here that I'm using is a 100% cotton paper and it is going to withstand the time that I take to cover off all the area between the trees. But if you're noticing a 100% cotton paper, this might not be the case. So in this case, you can actually bend each part of the tree, that is each section separating the different trees. So first, you would apply the water than you would apply the paint because you don't want the water to dry by the time you come back from the other spaces. So you can go ahead and start painting. That is, if you forward to the part where I'm applying the paint, you can see that. But If you're using Naive watercolor paper that stays wet for a longer duration of time. You can do the way that I'm using. That is applying the water to each section in between those trees. This is because we're going to work with the veteran wet technique, but we don't want to paint on top of our trees. So that's the reason I am just skipping the region of the tree and then applying the water. You might need to reapply. The idea is that you apply it at first. So I'm starting with Indian yellow and I'm going to apply it to the whole of the background now. So you can see the whole space where we apply the water. We're going to paint with Indian yellow. So this is a sunset scene. So that's why we're going to cover the whole thing with Indonesia first. This process is quite simple, as you can see, all you have to do is apply the what did I do the different sections in between the tree bogs or tree trunks and we apply yellow beans over it. So that is why I said you could paint injections. You didn't have to apply the water to the all of the spaces at first itself because you make your paper dry quickly. The only thing that we have to make sure is we have to be very careful that our paint does not flow to our branches, but randomly, If it does indeed flow to some places or the branches, that's fine. So as you can see, for some of my trees, it has gone on top of the trees. That's all right. Because we've been covered up later on. So there are now, I have added my Indian yellow. Then the next color I'm going to take is Alizarin crimson. We will be adding the clouds with Alizarin crimson. So just few clouds in the sunset sky. So with your brush dropped the beam onto the yellow that is on top of the yellow. But again, here we're going to do it alone line. But then by skipping the region of the trees, you can see I'm applying the paint and then I'm continuing on to the next side, but on the same line but without painting on top of the tree. So that's exactly what we're doing. So we will just drop your pick at random places just in the shape of clouds with trying to create a gorgeous picture here with a nice background. Now, I have switched to my size for brush and we're going to pick up Indian gold and we're going to add some bushy background. So this is just like the other paintings that we have done in this lesson. We will just add them in the background. So if you don't have Indian gold owned by, you can also use orange here. Or you can mix a bit of brown into your orange and you'll get a nice golden shade. So the same way, again, skipping the region of the tree, we're going to apply the paint. And because our sky region or the background is where we would get a nice blurred effect because the paint is going to flow, but not a lot because it's not do bet. So make sure it's not too wet. And applied in some random shapes like a bush as you can see. So there now I've applied the Indian Gould, and I'm going to run on the top of it with band number. So the next year that we're going to use this burnt umber and we're going to paint it on top, the Indian goal that we just did. So adding two colors like this will give it a naive radiant look. Because if you look at it, it's got that golden Dutch and then it's got that doctrine touch, which makes it looks kind of interesting as if the top part is glowing. And also this sponge is kind of like creating shadows to our bush. So there now we wait for the whole background to dry, and once it has dried, we'll paint the foreground. So the foreground part is where the snow is and we have to, we've been doing this NOW properly. So again, here we're going to skip the region of the trees. So in between the trees, apply the water carefully. Just the different sections in between the trees, but all the way towards the bottom. There. Then we're going to add some reflection areas or undo our Snow first. So pickups and Indian yellow and drop it onto the wet paper at random places, just few lines here and there. That should do. Then. Now I'm going to be making y let, like I've been doing in the other projects. So first you can start applying the blue and then we're going to mix it with a little bit of Carmine to create a nice blue while a cheat. So more of blue because I wanted to be like a blue while a cheat. And this is what we're going to paint on the snow. So again, skipping the region of the trees, we're going to apply this. You can also use why lead directly, but I prefer to mix my blue and red together to create a nice shade of Y. Let always so carefully along the different sections and along the lines of the snow that we have added. And Betty can't flow to skip the regions of the yellow band as well because by lead mixed with yellow would give a brown sheet. So we have to. Avoid the areas of the Indian yellow as well. And that don't need to be more prominent towards the bottom side. Sued lighter towards the DOB and more prominent towards the bottom side. I'm going to pick up a bit more of Indian yellow and try to meet those shades that I applied. That is the deflection areas a bit more prominent. So we'll just drop in some more Indian yellow. But again, make sure that you do not apply damage on top of the violet because it might turn into a brown sheet. Then we will pick up the violet again and tried to add in some strokes. Now, before moving onto the trees, we have to make sure that the whole thing is try because we don't want the paint on top of the trees to be spreading all around and switching to my smallest size brush. And we're going to had birch trees at this, those trunks. That is just a pencil sketch. Now we're going to transform them into beautiful looking, but she's, so all we're going to do is becomes a burnt umber. And we're going to apply it onto the paper, but in small lines on the trunk, that is from the left and the right, just totally random. Some lines, some lines you can extend it all the way towards the bottom. So at the bottom, I'm trying to create a nice base here. The rest of the areas you can see what I've done, just few lines on our tree, that's it. And then towards the left and right will create some small branches. So this is totally random. Again, the branches are just Bear, I feel I want to add them. There is no specific rule, just at random basis. Some lines originating from the tree to the left and to the right. And we're going to be repeating this process for all of the trees. So what I'm doing here is, you know, when I painted those yellow and red strokes onto my sky, there might be regions where my paint actually flowed into the tree region. So those are the regions that I look for and those are the regions that I apply, the brown paint and some other extra spaces as well. So this process here, I'm trying to cover up the regions where my galloping flowed into the part of the tree. And I am covering it up with the band number and adding few branches. So for the next one, for example, you can see I've got a lot of yellow paint covered over it. So I'm binding the whole thing with Burndown work because our tree cannot be yellow. It's a sunset. That's part of the sky. It cannot be yellow. So that's why I'm covering the whole part of the trunk with by and so any spaces that are left white, I leave it as by itself, but if it's got yellow on it, I covered it with band number. So it doesn't really have to be birch trees all over. So since I had to cover the whole of this tree. With burnt umber, I'm turning this into a different tree. So that's why I added a whole bigger branch to the right so that it looks like some other tree. So it doesn't have to be a forest completely filled with bird she's itself. You can transform it to have some other trees in the forest as well. So that's what I'm doing here. Look for areas where you're being test prep that does the yellow paint and then cover it up with burnt umber by adding small streets, applying onto the tree and then adding branches. But if you're really careful and none of your yellow paint has seeped into the tree region. Then just add these band on most strokes at random places by leaving a lot of white spaces in between the trees. So you can see clearly how I'm doing. Just some small, small lines, tiny detailing onto the tree on some areas I extended to cover the whole of the left side or the whole of the right side. And then towards the right and the left, adding few branches. So all of these branches don't necessarily start them from the left corner on the right corner itself. Try starting some of those branches from the center portion of the trunk as well. That is the middle part of the trunk towards the outside because they are not going to be like exactly from the right and the left itself. So some of the branches start from the middle towards the right and some stock from the middle towards the left. So this process is going to be entirely similar for all of the trees. Just enjoy the process. It's really fun to add the branches. I don't know why I really love adding branches to my trees. All of these branches, they do not have to be in the same exact size as well. So use them invading sizes, invading directions, add multiple branches if you want. So it's like totally up to you how you want to do it. And you can also see these two trees towards the right of added less of the brown spots. So it's just totally random, totally up to you how you want to add it. If actually you want to cover the whole of the tree with London, Roseville, that's also fine. It will just turn into a different kind of forest. That's it. So that's why it's going to be totally simple. Just try adding the random strokes. Once you've finished with the trees, try adding some twigs and more branches or grass at the bottom as well because we don't want to leave it as in direly blank. To make this painting interesting, it's better if we can add some random two eggs at the bottom. So just some random twigs and branches at the bottom on the snow. I'm trying to add most of them towards the trees because I kind of like my tree branches standing alone in the snow, so I tried to cover it up. But you don't necessarily need to do that. You can just add at random places, small lines and smaller branches. So these could be the grass coming out of the snow. Then I'll mix the violet again and we're going to add some lines onto us know, to depict that higher ground, that is the different heights of the snow. So as I said, this whole thing was kind of like a hilly region and different heights of the snow by the trees are the not on the same line. So what we're going to do that with the violet. So you can see I've added some small curves and lines extending on my violet. And because it's a wet on dry stroke, I'm using water on my brush to just spread it a little so that it looks more original. And you can see now it looks like more like a hill now, right? And there are painting is complete. It's looking really beautiful. Listened it, this is my most favorite among all of the eight projects. So here it is, guys, I hope you like this one. Thank you for joining me on this one. I hope to see all of your projects. 11. Project 8 - The Glowing Shadow: Welcome to the next class project. So here again, this is the other censored project which is one of the longest, slightly only. So the colors we need for this one are Indian yellow, permanent red, or you can use Alizarin crimson, orange, cobalt blue, indigo, Indian Gould, burnt umber, and Pinsky's. So if you don't have been screen, you can also use black. So don't worry. And the same for Indian gold, you can use orange instead. You do not need exactly the same colors that I'm using here. Here is the paper that I have deep down on all the four edges. So starting with our pencil sketch, again, for this one, we're going to have a horizon line somewhere just below the halfway point of the paper. And then towards the center, we're going to have a small son. And right in front of the Sun, we're going to have our tree. So you've already seen the picture how it is. I will also upload all of these paintings to the reference section. So you can reference that to draw your pencil sketch as well. But you can just follow along and add these Denzel sketch with me because this whole process is real-time, you can see it. So add these branches or the main trunk of the tree. And there, that's all our pencil sketch is going to be because the rest of it are going to be doing with our paintbrush. So let us paint the sky region fest. I've taken my flat brush and I'm going to apply water to the whole region of the sky. So again, evenly, without any large blobs of water on the paper, evenly applied the water. They're so once you have started applying the water, I will switch to my size to more brush and I'm going to apply permanent yellow or Indian yellow onto my people. So I'm going to be painting in a semicircle manner now. So this is quite different from the strokes that we have done. They'll now we were doing straight line strokes and random strokes. So this is going to be like in a circle. So add the yellow in a circle and you can see I've skipped the region of the Sun, but high paint is definitely going to flow into that region because I have not mastered. You will see in a while the whole sun region is going to turn yellow. And that's all right. So apply the Indian yellow or permanent elute first. And then right next to it, adjacent to it will add the next sheet, which is orange. So I'm picking up a naive stone of orange and adding it again in the form of a semi-circle going outward each time when I am applying my stroke. So you can see the nice, beautiful blend of the orange AND alluded have God. Then the third color that I'm gonna be taking. Is Clemson all permanent rose? Or even you can use Alizarin crimson or read instead. So we will continue on to the semi-circle going outward each time. So make sure to take a nice consistency of paint in your brush. Apply the paint outward. Then towards the edges, I'm going to be adding a little bit of blue so that we can turn our painting into our wireless in the corner. So applying the blue died next to the red in Buddha corners. So now you can see the left side and the right side is kind of uneven. And so I'm going to pick up more of my Alizarin crimson and apply it to the red side. That is towards the left. And I'm going to add more layers on top of this so that the whole thing turns vibrant. And I will also apply on top of the blue because I do not actually want blue on my paper. What I want is I wanted to turn y let, So this is the reason why I applied the blueprint. But I'm going to try to make this thing vibrant. So I'm reapplying my orange. So you can see now I'm reapplying it and it's turning into a nice vibrant color. So I've added the orange. So let's add the yellow again now. So as I've been saying, the key thing to happy people stay wet for a longer duration of time is to keep applying the paint multiple times in order to get it vibrant. And don't stop you being DINKS midway. Let's say you reapply the red and the new reapplied the orange. But if you stop there, then you're yellow part is going to look uneven because you did not reapply the yellow. So now I'm using my issue to create the space of the Sun. So just use the tip of your tissue, roll it up at the corners, and then dab off that part of the sun that we want. And then create a round shape around it. So there now the sun region is perfect, isn't it? So we're not complete yet. Let's go outside and cover the whole thing and make it into a nice purple shade. So more of the Alizarin crimson or carmine. And they are. So you can see now I've covered the outside and it looks more like a purple sheet, Isn't it? So this is the reason why I applied the blue. So if you want to take good to more violet Jade eking out a bit more blue and then the car mine on top of it. There. That's it. Now, we are going to pick up a nice been ZnO or bond on the sheet. And we're going to add the background bushes. So this is exactly going to be like all the other projects where we have added the background shape. You know, those blurred effects that we created. This is exactly what we're doing. So use the burnt umber and just add some random strokes onto the red sky. So the background is still wet to and we're working on the wet on wet technique, so just drops him. And when we approach the sun region, we have to turn it lighter. So this is exactly like the other project where we did the sun glow. So we're gonna create the blue here again. So that's why I've used orange. And I'm going to mix it up with a little bit of brown so that I get that nice golden shade. You can go ahead and use Indian goal if you have that. But I'm just showing you here how you can create that Indian Gould that is that mixing orange and brown. And then using that same color do apply right near where the sun is. So you can see my blend here. I've mixed the orange and the ground together and then apply it towards the center. And then towards the right again, the, applying the bundle but itself. So that center part is where the glue is and that's why we made that lighter, that area for the bushes. It's light. And make sure you blend them nicely. We don't want to see a clear separation between the orange bars and the ground barred. Now, we don't need to wait for our background too dry for this painting. We're just going to faint the foreground as well. So which is going to apply the water. And when you apply the water, you'll see that your paint as spreading towards the bottom. But that's all right. Let it spread. Then we will pick up some orange and we'll lie right below the horizon line and also add some extra lines. So this is again going to be the deflection on the snow that this from the sun. It's glowing on the snow and that's what we're trying to create. Then we will take integral. So here it's kind of like almost the sun has set and it's nearly getting dark. So that's why we're going for a darker shade, which is indigo. And we're going to apply this Indigo in the other regions of the snow. And in between the Auden shade that we have applied, make sure to not touch the orange too much because you might done it into a dark brown shade. And we have to make sure that the indigo is Dhaka towards the bottom and lighter towards the top. So this is the region why we wet the paper, because it would create a nice blend always that they see wet owned by technique there. So now that looks really nice, isn't it? So we're just trying to create a nice blend. So I'm just running my brush over the orange and the indigo to create an even blend between them. Next, I'm taking my size for brush because I wanted to create some thin lines. And we have to make sure that there is not a lot of water on my brush. So I've adopted on the tissue and removed any excess water. So there's only paint now. And on the vet paper that is the pain that we have just applied is wet. We're going to draw some lines. So this is the line of the deflection of the trees. Not that reflection exactly. It's the shadow of the trees. So here again, we will follow the perspective method where the shadow is going to be thinner. The word, the tree that is further away from us and near us, it is going to be picker. So make sure that lines are thicker towards the top. Towards the top, I mean the branch. So it will be thicker towards us. And ten, at the point where it's joining the tree. Then pick up some more indigo and just run over your reflection and shadow so that you can be looking like a seamless blend. After that, we will wait for the whole background to dry. So now everything has dried and we're going to be in the trees. So I'm starting with Indian gold fest. As I said, if you don't have int and gold, mix a bit of orange with burnt umber in. You'll get this nice golden sheet. And we're going to add the trees. So you can see it right towards the center of the Sun. I had not joined the tree. I've left a slight gap. This is because of the low in-between the trees. Then the words the bottom I'm adding with bond number. So only where the sun is and a little bit towards the outside, we have the glue. So that's what we paint with Indian Gould. And towards the bottom we add burnt umber and towards the top as well. So towards the bottom part, make sure that you are joining the trunk of the tree to the shadow exactly. So in the same line as where the shadow is starting, because this is actually the shadow of the tree itself. So it has to match the exact point. And towards the center, if you want, you can join the tree by using a very lighter tone of yellow, but it's okay to leave it in white as well. Then the branches that are closer towards the sun, we will add them with Indian Gould. So you can see just some few lines towards the left and the right. And then I'm dropping some smaller dots Atlanta basis, some tiny drops of paint. And I'm trying to create like a triangular shape and on the tree. So my branches are getting. Smaller as I go towards the top such that it tapers to a point at the top. So like I said, it's almost like a triangle. Imagine a triangle and tried to pinned inside it. But then don't be like you want to exactly go with the line of the triangle. Some of the leaves get and go outwards. That's alright. Because this is a tree, it has to be totally random. Then further away from the sun, that is towards the top region, we will add more Docker doors. So on top of the already existing Indian gold and apply band amoeba. So these tiny small dots, I'm an ad on the top. So I want the top region to be more darker. So i'm going with a darker shade on the top which is being screen. You can also paint with black instead. That's only towards the extreme top. So this is the three color variation that we're trying to bring in here that is fast Indian gold towards the glow or the sun Nadya. Then we added the next color variation which is burned on her right next to it, around the ADL farther away from the sun on the tree. Then pains Great, black, whichever you are using. So we're gonna be doing the same for the other trees as well. But as you can see, the other trees are kind of like further away from the sun so you don't need to create a lot of glue area. You can go with just the two shades. So here I'm using Bund, Amber and I'm adding the tree trunks. Make sure that each of the tree trunks are right where you added the Shadow. Don't forget that. So the process of drawing the trees here, it is valued at but the div, which is going to add some branches to the left and the right and then fill them up with some leaves. So again, like a conical shape or like a triangular shape on the paper and just cover it up with some smaller, tiny leaves. So nearly for all of these, you can go with Bund umber itself. So I'm adding this ones on the left, immediate left of the Sun, and the immediate right of the sun. And we're going to add it with bond NBA. And then all the other trees, all the way to the left and all the way to the right and add it with the Docker store, which is Spain's clear. Or you can go with the black shade. And do any of the leaves that are closer towards the sun, I will add some Indian Gould. So what I'm trying to look here is, you know, those semicircular region where we painted with the yellow. So the region where there is yellow, I had tiny drops of Indian Gould there so that it can add that glue to Egypt, my trees. Then the rest of the areas I fill them up with burnt umber itself. So here, this is the tree that's almost towards the left and it is in the red region of our semicircular background. So I'm adding it with pain sleep because it's going to be really dark. It doesn't have the glow from the sun. The same principle we're going to apply to all the trees towards the right side. So i'm applying the Bund on Bahia. But then some of the branches of this tree is like towards the yellow region. So few of those branches, I will add some Indian gold sheet. Then the rest of the areas with, but you don't have to be stressed about the little amount of detailing that we're adding. Yeah, we just have to use the brush and dropping the paint. Just tiny dots are making to make those leaf shape. It's totally random. It doesn't have to be any, you know, exact shape we have to make. It's just some tiny small lines that I'm adding here. So they are now I've picked up the Indian gold because I wanted to add in those little details right next to the yellow region. And now all the trees to add, I'm adding with beans greedy. Then towards the base of each of our trees, we just want to add few lines. So I'm adding them with the band armor itself. And you can try blending them with water so that those lines do not see him, you know, odd standing out because this is the wet and dry stroke. It would stand out a lot. So first apply the stroke and then just try blending them with water. And that's pretty much it. You're painting is complete. So this one is gorges, isn't it? I hope you like it. And here's the final picture. Thank you all for joining me in this class. 12. Thank You: Thanks to each and every one of you who joined me in this class. I hope you liked all of the eight windows onset projects. If you attend any of these paintings, don't forget to upload them to skill share, as well as social media. You can find mean Instagram scholar from mystique cURL in my next class.