Acrylic Painting For Beginners: How To Paint A Landscape From A Photograph | Debasree Dey | Skillshare

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Acrylic Painting For Beginners: How To Paint A Landscape From A Photograph

teacher avatar Debasree Dey, Acrylic Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

9 Lessons (54m)
    • 1. Welcome

      1:16
    • 2. Art Supplies

      2:09
    • 3. Step 1: Color Block

      10:45
    • 4. Step 2: Add textures on the Field

      11:11
    • 5. Step 3: The House

      4:55
    • 6. Step 4: Trees behind House

      5:47
    • 7. Step 5: Flowers on the Field

      13:15
    • 8. Step 6: Final Touch Ups

      4:03
    • 9. Project and Final Words

      0:58
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About This Class

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Have you always wanted to paint a beautiful landscape from a photograph, but felt too intimidated to start?

Have u always wondered how to create your first painting in acrylics?

If that's you, then you are in the right class.

In this class, you will learn my process of painting this beautiful serene landscape from the reference image. You will also learn the techniques of creating abstract strokes & textures using acrylic colors.

This class is for beginners. Even if you have never painted in acrylics before, you will be able to create this painting following my step by step guidance.

Materials:

1. Acrylic Paints (listed below)
2. Canvas Paper / canvas board / stretched canvas / acrylic paper
3. Brushes - 1 flat brush and 1 small round brush for detail work
4. A plate - something to mix paint on
5. Water
6. Tissue paper

Colors I used in this class:

1. Titanium White
2. Chrome Yellow
3. Burnt Sienna
4. Prussian Blue
5. Black

By the end of this class you should feel confident in your ability to create this painting.

I recommend this class for everybody - no prior art experience is necessary. If u haven't painted in a long time and wanting to brush up your skills or if u haven't found anyone to mentor you in your creative journey,  or if you are not sure you will be able to paint, or if you just want to paint pretty landscapes just to feel good - this class is for you.

Look forward to seeing you in the class
cheers
Deb
@debslilarts

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If you are new here, do check out my other classes and create masterpieces:

How To Paint An Abstract Forest Landscape

How To Paint Sunset Reflections

How To Paint A Realistic Seascape

How To Paint A Monsoon Landscape

How To Paint A Landscape From A Photograph

How to Paint Autumn Landscape with Knife

How to Paint Sunrays Through Window

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You can purchase all the items I use by clicking on this link.

This is an amazon affiliate link, meaning, at no extra cost to you, I will make a commission, if you click and make a purchase.

Meet Your Teacher

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Debasree Dey

Acrylic Artist

Teacher

LOOKING FOR SOME GUIDANCE IN YOUR ARTSY LIFE? 

Download my eBook. 

 

Working as an artist for 7 years, I have carved my own path into the art world. There were many big stumbling blocks and also bigger accomplishments. All of which lead me to become a Thriving Creative.

Collecting my experiences, I have built this ROADMAP for you!

 

 

VISIT MY STUDIO

 

Hi, my name is Deb. I'm a self-taught artist, acrylic art guru and a creative entrepreneur based out of Pune, India. Academically, I've done MS from BITS Pilani, worked in corpor... See full profile

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Transcripts

1. Welcome: Have you always wondered how to create a beautiful landscape painting from a photograph that maybe you have come across online on media photograph that you look like yourself with a glass, you then you go in the rankings. Hi, my name is Deb, and I am an artist based out in India. I had been teaching a thing for a really long time, almost five years. And I have made people being specially those who could not think that they campaigned. So if you're someone who's new to painting or what never been to enact release, you are at the right place. In today's class, I'm going to be teaching you how to into this beautiful painting from our diagram. And this is a beginner friendly applause, which means that you can never beat in acronyms before you're getting heavier ready first accurate being created at the end of this class. And this class I'm going to be teaching you how to create an abstract landscape, the skies, and how to create this beautiful textures of grass, field and all the trees and all those goodness in the nato. I hope you're as excited as I am to create this painting. So let's get it inside the glass. 2. Art Supplies: Hey you guys. In this video, I'm gonna be telling you all the art supplies that you're gonna be needing for creating this beautiful painting. Alright, so let me start with which Canvas you can use. So you can use any regular families board ostrich Canvas. However, for this class I'm going to be using my sketchbook. This is a brushstroke sketchbook, A5. It's a 16T DSMB book. As you can see the thickness. And I'm going to be listing down all the supplies in the description box below so you can click on it and you can purchase it directly. And you're going to be leaving acrylic beans. So I buy this 550 krill acrylic colors. But because I'd been quite a lot and I need a lot of scholars. Let's vary by this 500 emailed ones. But if you want, you can buy the 20 e-mail buttons as well. I link them as really the description and the institute needing for this beam gene are brown. Bird Vietnam, this is chrome, yellow, this is Black. Sorry, this is Prussian blue, white, and black. These are the five colors that you've gotta be needing for creating this painting. This is a smaller version of the painting that I've already created. And here is the photograph, original photograph of the landscape that I have taken for this painting that I'm gonna be using as a reference in this class. So along with the canvas, colors, watermelon, many Liza played where you can pour or your pillars for mixing. You're gonna need to have a class. And I'm going to be using two brushes. E1 is a flat brush. You can use any regular flag brush for acrylic colors and one round small brush for bring already dealing work. That's all you're going to be needing. Let's get started. In the next video, I'll show you how to start with your first step. 3. Step 1: Color Block: Hey guys, so welcome to this class where I'm gonna be teaching you how to create a beautiful painting from this photograph. As you can see, it's a fairly, moderately easy photo that I got from Pinterest. And I thought this would be a really good ending to learn for you guys, especially those of you who are beginners in acrylic painting. I think it'll give you a really good idea on how to go about creating an abstract landscape from a photograph. Rather than, you know, getting overwhelmed by too much of detailing of appending. Okay, so this is, remember, this is not going to be a realistic landscape. We are saying we are going to do abstract landscape and we will create, try to create, recreate as much closer possible to this photograph, but it's not going to be exact same because we will try to create something which is an abstract landscape. Okay? So let me start with dipping, putting down a little bit of masking tape and I want my journal because I want I like that. Chris White look around the benthic. Okay, now that the taping has been done, it looks fairly clean, neat on the side. Now let's get all our colors. Remember, we are going to need only five colors for this painting. Brushing new white, chrome, yellow, black, and bone Sienna. These are the $5 that you're going to need. Okay, now, onto the painting, I'm starting with a flat brush, makes sure it's completely dry and you don't have any water. No, I'm mixing Prussian blue, black, and white yarn to reach the desired shade that I want for this painting, make sure you're not taking too much of just blue because we want that grayish tone in the sky as well as you can see the picture. So I'm starting by drawing the horizontal plane so that they know where till we're to beat the sky. Okay? No. Because this is an abstract landscape. What I want you guys to do is just keep brushing around. Your target is not to get any desired shape, anything. Just keep adding the gallows onto the sketchbook. Also, you see that I haven't mixed up down of black, blue, and white and amid the color or GAD. Everytime I need the color, I'm just picking up mixing and picking it up. Now in between, as you noticed, I picked up a little bit of white to give a different shape. So very important part of this painting is creating multiple sheets while your painting. So you see that I am trying to make it a little lighter like you see in the photograph. So and depleted later told all I'm doing is on the same brush and picking up the white little bit to give that differentiate. So all I'm doing is pretty much applying the color on the sketchbook in a particular direction, not necessary in it doesn't have to be exactly the direction that I'm doing. Make sure that you're just applying the color onto the sketchbook and just moving your brush all around to fill up the place. The Philip the sky area, make sure that enough color has been led on. Now if you notice that I'm trying to move in elliptical way because the white area that you see in the photograph, it is towards the job and his little elliptical way. So just to give that should now, now that we have completely filled up the page with the color that we want. Now all I'm doing is picking up little bit of white and coming and doing this white area on the top. So try and hold your brush very, very loose. Don't put a lot of pressure because if you put pressure it will become absolutely white on the, on the, on the, on the sketchbook. So who do you brush is very loose and just dry brush it on top of the blue that we did. Now you see so much talks that are already visible range and you want to keep those strokes. So just do one or two or three strokes maximum. Don't continue doing strokes on top of that. Right now I'm doing another stroke on top of it, but I have changed that shit up the color, right? If you keep on doing the same ship, then you're gonna mix it all up and it's going to look very plain. We don't want it plain because it's abstract landscape. We want to keep it really, really vibrant with all these strokes being visible. That's one of the most important things of abstract landscape that makes sure your brushstrokes are visible. You are not going over them so many times that they're completely getting blend into the background. Ok, you don't want to blend it. So continue doing that. Now I feel like I want to make it a little bit dark because I've added too much of white. So just below the white area, I'm adding little bit of Docker dawn or with a mix of mu and black. So I would suggest guys just watch this back a little bit and then you start doing, don't start doing while you're watching because you'll miss out watching how my brush strokes, how I'm moving my hand and creating the brushstrokes or watch it just once. Then pause it and then do it. That way, you will get a very good command on how to create these strokes. And I feel watching is a very, very important step of creating a printing. You see how much I'm trying to create multiple strokes in the sky because the strokes are the other things that are going to make this painting looks so vibrant and beautiful. So try to make as many strokes as you can. And the moment you feel under strokes are getting blended into the background, stop. Don't mix it in. And just in case it mixes up it's acrylic paint. You can always come back with a different ship, go over it, and create the strokes again. So you cannot go wrong in acrylic painting. Because if you go wrong, you could always use the other color to cover up the mistake wherever you want. So too was the down a also there is a little bit of cloud that you can see in the photograph which is not very visible. Some trained to create that cloud with little bit of weight, extra. I really loved doing the smart small strokes and creating this different textures in the landscape. I feel they just make the landscapes look so, so vibrant and beautiful. Look at how to reach the sky is starting to get make it full screen if you wanna see it up close. Because that way you can really get a good closer look at how my blush is moving and how the textures are being created. So I'm just fine-tuning on the strokes. I'm almost done by Sky is starting to look pretty beautiful, but I am just very slowly, loosely adding a few strokes here and there, just to make it look really, really the way I want it. If you, if you don't want to do too much construct your also. And we are done with step one, what should your brush really clean? Cleaning your brush is also very important practice of acrylic paintings because if you don't watch it well, the bins tend to stick in the brush and kind of spoil your brush for future use. So make sure you always clean your brush really well. Ok, now that we've finished coloring the sky, Let's block off the color at the bottom of the canvas, on which is the sketchbook in my case. So just pick up little bit of chrome yellow and start adding the color from the horizontal line downward. Don't have to go in any particular direction. Just pick up the color and just apply however you like it. Now I picked up a little bit of black and started adding from the bottom of the painting. Just to make it really, really dark from the bottom. And now I'm mixing the chrome yellow along with the black to give it olive green shade. So the two colors that you need to make that black and chrome yellow. These two colors give you a really nice bottle green effect. As you can see, I'm just trying to blend in bolder colors, but I'm not really going all in and blending it together. I'm trying to kind of add layer upon layer and with all the strokes visible, remember, one of the important part of abstract landscaping thing is making sure that all your strokes are visible. And that is exactly what I'm doing here. Even though we just linked on the palette of block of the space. Make sure that when you're adding, you're not going over and over. It's shortages doing it once or twice and making sure that the strokes that visible because the more strokes are visible in a painting, better you're painting looks. If you are painting abstract landscape for the first time, it might be a little difficult for you to understand, but you'll understand as a menu, do more such being things that you'll understand the beauty of the stroke. You see that the strokes that I'm creating by bringing the yellow down here, I'm leaving them out as it is, even though they're not going to be visible. In the next step, we're going to cover it up. But just to be able to create this chose, it just feels so good. It just feels alive to paint when the strokes are visible. So you don't want to blame him too much colours and we are done with this step. Wash off your brush again, very clean and dry it off on the town will already tissue paper. Let's move on to the next step now. 4. Step 2: Add textures on the Field: Now in this step, I'm going to teach you a new technique, a technique that will help you get through this painting. You'll be able to create this painting beautifully. And also it will help you create a new landscape. So the first thing that you need to do is see the way I am doing. Just split out the tip of your bristles. Now, if you have an older brush linger on for a long time, that is probably one of the greatest ways to do it. But if you have a new brush, just print it out little bit. Lake I showed. Okay, now we're going to be mixing two colors, yellow and black to create the olive green that we did in the previous step. And now come 90 degree on top of your canvas and very gently just dab on top of your campus, make sure that you don't put a lot of pressure. Because if you put up pressure to become like a blob, so you want to be really gently, so barely touch the tip of your bristle on the canvas and just go very slowly, keep dabbing. So the more slow you go, the better extras you get. Now you see if I am doing and I'm going to keep changing the shades also while you're doing this naive can't keep doing with the same shit if you feel the colors are the textures that you're creating on the canvas and not showing becomes a little bit more yellow so that the, you know, the shared gets a little lighter. That's why I'm starting to do what the darker area of my canvas Wait, I have done more for dark so that it's visible for you guys. So all you have to do is very slowly keep dabbing on your canvas. The opened bristles that you just created will create this amazing texture on the, on the canvas. And it will create a leaf-like exchanges on your chemicals, which, which looks really, really cool. In between. Also, what you can do is if you feel that you're not getting the right kind of texture, use your left hand or the non-dominant hand and just open up your grid cells a little bit because the more the bristles that opened up better textures you get. So it really depends on the brush that Joe using, the kind of pictures that you'll wanna get. So regular if you notice my bristles are a little towards the Peano side, they have become little thing down. And she said I'm getting now is quite different from the texture service getting in the beginning, but that's all, okay. It's all up to you. How you use a brush to create what kind of texture. Also, one important thing about this technique that I want to share with you guys is make sure that you're not putting pressure at all, okay. Spatially now that your background discolored, all you have to do is just pick up color only on the tip of the canvas. See, I'm just opening it up once again. You're not going to deep the entire Brazil in the paint. Ok, so now I'm just mixing up little bit of white just to lighten it. Like I said, you need to really have different shades for this texture to be visible that you're creating. If it's the same color and theme color, wherever it takes you you're doing, it's not going to be visible. Nobody can understand it. You're actually creating textures on right? So keep changing the shapes wherever you are, depending on the background. Make sure you are galleries didn't lighter or darker than the background that you're painting on. We're here, we're doing the distant ones. As you can see the picture on the top of the horizon, it's a little lighter, so we're not using plain white. We are adding little bit of weight to the olive green that we had created to make it a little lighter. And also, we are, right now we're doing a second layer on top of the previous stage shooting that fitted. So multiple layers to create also gives a really good depth of textures and makes it look really nice. So all you have to do is keep doing it. Don't don't, don't put all your strokes very, very close to each other. Keep a little bit of gap like I'm doing. You see there's a very little gap then spacing between each of my stroke's saw that the strokes are visible. If you keep on going on top of each other, the strokes will barely visible, right? So make sure to keep little bit gap in between. One thing that I've noticed in my experience is that sometimes i go way overboard with this step. Now, if you'll feel that you are not able to control how much to do and you're covering up all your background and you're not leaving any gap in between. What you can do is once this tape has dried, you can go back and add little bit of Docker don't sit in between. So this is just a workaround that I'm suggesting to you guys that you can play around and see how it works because don't they will be no was that you have spoiled your painting. You can never spoil your acrylic paintings and let it dry and you can always redo it once again on top of it to the desired outcome that you want. Now 2a dot down area. I'm not really doing a lot because we're gonna be creating those vertical lines of the grasses later. So I'm just adding a little bit of it on at the bottom. And if you notice that I'm using little darker shade towards the bottom because the textures will still be visible, but I don't want them to be really, really bright and visible. So at this point I'm adding little bit of black to create the darker shadow so that when, once I do the top layer on top of it with yellow and black with the olive green, it will be more visible and vibrate. So it's important that you have a really strong background color as a really little dark one. Notice this time I'm not just spreading of the brush and creating a flat brush stroke. Instead, I'm still doing the texturing. So whatever will be visible, 3B textures and mixtures always add song modules, dip in European thing. Now you see how I'm going in between and creating little bit of Dhaka dorms like you see in that picture. Like I was just mentioning to you guys that if you feel that you have left out or you have gobbled up too much, you can always go with the darker color or the lighter color, whatever you need to, and you can create that in between. So this is really a fun technique, wants to get a handle feet, you can really literally create. Anything that you want to create in terms of leaves or grass or the green effects. Really have fun with it and keep dabbing. Make sure your dabs are really late, pressured. You're not putting too much pressure on it. Because too much pressure is going to create a blob will not create the textures. Also, one important tip that I can give you gaze or whenever your branch becomes really all learning, Philip, throwing it away. Don't throw it away. Just store it somewhere safe. I have lakes, so many brushes from 4-5 years back that they keep only for this faintest paintings where I can really use my old brushes. And you don't have to open up the prisons because they are already opened up from a lot of usage and they are like really bad Yukon really painted them. But for this sectioning technique, it's such a good tool to have. So this is one quick tip that you can keep in mind whenever you are planning to tour brush, to keep it in a separate brush box, maybe. Now see how much I am trying to get the exact x shows that I see on the picture. So now the textures is not going to exact similar to the painting, but I'm trying to get the colors right because if you get the colors straight, wherever there is a light tone, wherever there is a dark shadow tone, if you get the colors right in the right places, that painting is gonna come out really, really well. Yeah. Also, notice one thing that I am not really washing my brush. So this is one of the, another very important day for getting the state should write that. Make sure that you don't have water on your brush. So now see for example, you want to move from darpa to do light tone, WIPO filled brush, enter tissue paper or a towel. Well, whatever you have a ten, but make sure that you are not giving into the water because if you get tons of water on your brush, you will not be able to create this technique or you won't be able to predict its texture. So it's very important that you keep your brush trays, so to keep your grass stray, one thing I have I have realized is very important is wiping off your brush rather than washing. Yeah, just wipe it off on our doc or tissue paper or something. Okay. Now, I have I am using so make sure your brushes completely dry it and cleaned off on our tissue paper. And all I'm doing is adding a little touch of white. Now what happens is just because I haven't washed off my brush and it has all the previous colors, minimum or mixing it up with white. It's not going to be pure white, but it's going to be a lighted to all of the colors that you had making sense. So like you see with your, I am picking up just a little bit of white mixed with the scholars. But it's coming really, really nice. So we only see I kind of created a big patchy kind of a thing where deltas go around it and create some pictures around it. Now I'm adding a little bit on Docker. Don't like I said, the blob has become really, really patchy and I don't want that patchy Luke, so I'm just going to add a differentiated like I said. So if it is light coloring where the Docker don't if it is, you're making their bad to the doctor and you add a light Don. It's really as simple as that. So keep doing it and you will get a hang of what is happening. And once you get the hang of this technique, you can literally create any landscape eating. We're almost done. Just a few final touch ups, and we will be done with this step. All right, we're almost done adding few shows. And that's it. What should you brush onto the next step? 5. Step 3: The House: In this step, we're going to create the house. So gradual small brush, small, round brush, any sizes finer around 34 would be good. And what we're gonna do is we're going out ketchup though hot using white band. Now, if you want, you can use a pencil and sketch it out and then fill it up with white color. The reason I'm doing White is because if you go directly with brown on top of blue, it will, it will not be very visible. So that's why I'm just getting it right to give that clean canvas look. And then you can go with whatever color you want on top of that and you will easily be able to add a color. So that's why I'm adding white forced in the front of the heart. But rather than going in any other direction, trying going in vertical directions do benefits. One is it really gives you the texture that you need. And also it will make it looked like a bamboos. Blanks put on next to each other. So just by going vertical is you are creating this wouldn't look of the hut at one shot. So you don't have to do with multiple games. You can just do it once and just picking up a little bit of brown more to create a little shadow. So now you don't want the whole area to look as it is, as if just one solid color and little bit of light on one side and a little bit of shadow on the other side. That way. You can, you get the depth of the house. Now on the roof of the hut, MIG, brown and black together, burnt sienna and black together. Again, go in the direction of the roof. So don't go in any other direction. So again, it will create the wooden look of the bland stays to one after another in one shot. If you just go in the direction and with a small brush stroke you create will make it look like as if these are the audience of landscape or next to each other. Which is bordering it out with black on the side, as you can see on the picture. It's really pretty self-explanatory. There is no picnic. There is nothing known. Important thing much except the light and shadow, just like I mentioned. So keep adding little bit of colors. Darker dawns on one side and little bit light on one side. So here I'm just creating utilization of Docker don't on the front by adding a few strokes from the bottom. So you see it's giving the wouldn't look to the hut. Baylis paint on your brush and just use a little bit from the bottom. Don't start from the job because from the job we added the white and from the bottom we are adding the darker dots, pretty much alternately. Just bottling it up with black. Also, for y, you worked with small brush or visit, remember to have a little bit of water in your approach that helps move the brush really easy. Whereas with a flat brush, I mentioned earlier that don't have any water on your brush MOOC. So but for those small register rule is a little different because it's a very small brush, so it doesn't hold a lot of the internet, right? So I use a little water so that it flows really small, non-creative. The window width, which is pretty much like black and brown mix. And add a little tiny bit of weighted midbrain. Just makes it look really, really good. Just adding little bit of shadow around it, which is basically adding 80 blackened down at our debt. Now if you see the picture, there is a white line going along the roof site. So that is what we are adding, just a tiny white line to differentiate between the roof and the walls. And add a few vertical lines coming down from that weight. And our heart is starting to look pretty much like the one that we have in the picture. So I've got that. Let's move on to the next step. 6. Step 4: Trees behind House: Now we're going to use the same technique that I told you guys to create the textures in the field. So exactly the same way now we are going to create the trees behind the house. Yeah, so all you have to do is print out your brush, mix up yellow and black, and you start dabbing the textures on the back of the house. So make sure that you don't get inside the heart a lot. But even if you do good, we can always painted on top of it after the trees are done wherever we have got inside, just to make it look neat. Okay, so I'm starting off with black and white, yellow. And as you can see with a small brush, I'm just doing a little bit of a blend right now, but you can leave it for later also. Let's finish it and then you can do it. Now. You see, guys, I would also suggest that you make it a full screen to get a clear view of what I'm doing. So with a small brush, I am doing small dabs in between the trees. So because the area is so small offshore and with a flat brush and nontrivial to get all the textures. So what I'm doing is I'm creating the same texture, but instead of a flat brush, I'm using the small brush to create the dot-dot-dot texture that you caught at that endeavor. So wherever there is more space, so around on the underside of the heart, there is quite a bit of empty space. So I could easily go with my black brush and I'm creating the multiple textures. Always remember to give this a look. You have to change the shadow shades of that color. So for these two, in some places it is dark, and in some places you add more of yellow and white to give it the light tone. As you can see the picture, it's not the same shit all throughout, right? It is a little dark in some places. It's like that's how you can know the depth of the bush, which is, which one is in the front, which one is at the back? Exactly to have that color balance, it's important to create the right amount of sheets using the different colors that we have is the same colors. It's just certain some you will increase the black, give density a little more. In some you will increase the yellow little more. So you see after creating an another important step in doing this kind of technique is Buddha DRM forced like you saw in the bottom area or to the field load. So I first created the black and the light came on top of it to get the yellow. The same thing I'm doing here is, well, first add a lot of black and yellow. It's always black and yellow mixture. The black is little more. And then we are adding the yellow. Now, just to give it the natural loop of the tree, I just added a little bit of brown also in-between funeral list. And now I'm creating smaller fixtures with small breasts. So this is also another technique that you can do if you're not very comfortable doing it with a flat brush, you can always switch to those small brush and add small, small dots. Only thing is that it's going to take a lot of time. The same thing we're gonna do in few seconds with a flat brush. It will take you forever to do it with a small brush. So I'm alternating both the brushes wherever there is more space, I am using the flat brush and wherever I need to do small detailing of the pictures I'm using the small brush. So now you see there is a shadow that I'm creating that adding more black over you. It's so fun guys wanted to get a hang of it. It's really, really fun creating the textures like this. I hope you are able to do it. Or I would also suggest is a pause your video for some time and then do it. Don't try to watch and then you will not be able to get the complete idea of what I'm doing. So first of all, the way and creating the textures. And then you can pause the video and do it on your canvas. I totally love using this technique in any of my paintings because it just gives such a realistic look also. But remember, our target is not to create a realistic look. Here we are creating an abstract painting, abstract landscape, right? He tried to go really, really use, don't get caught up on too much of detailing. One of the questions that I always get with the beginner's of acrylic is that my beam keeps driving. How do I keep it with? So one thing that I can tell you guys is take our 3D less spent no more minutes overview takeout again. That's how I do it. So that way you're not even wasting bins and you can very easily keep adding into your plate as a menu needed. Also, another reason could be I use fluid acrylics so they take a little bit longer time to dry. So if you're not used to fluid acrylic trade out, it's really fun to use. You don't really need to take body. What happens is you have to add a little bit of water to dilute it to before putting it on your bandwidths. So try it out and see which one works for you better. So I'm, I'm adding little bit of textures with a small brush and I'm using little bit of weight along with the allude to get the light and look, but we don't wanna make it too late. Also is pretty much a night scene. And really want to make it too late. 7. Step 5: Flowers on the Field: Continue with the same brush, the same colors, and start adding little bit of textures in the bottom area where we already did the textures before with a flat brush. But this time we just add a little bit more pictures. If you haven't been able to add to much earlier, just add a couple of more dots to create more defined extra at the bottom. Okay, now we will start creating the lines that you see in the pictures which are some of the steam swapping out in the front. So just start by creating vertical lines. Now, you want to make sure that you are not. You're putting a lot of pressure while doing this. As you can see, I'm holding my brush very loosely and I'm using just a tip of the brush, absolutely the pointed tip to create these lines. So the lines are coming really thin and I'm not really putting a lot of pressure with my brush tip. Because if you do that, the lines are going to get really, really picked. And you don't want take fat lines over your, you want to create really thin lines. Even as much, you can make it a little bit invisible in between. So if you, if you put really lists, lists, pressure, some of the lines might not be very visible also, that's why I'm just adding a couple of more lines on top of the lines that are already did make sure to make create them really light, very, very light, and continue creating the lines as much Yukon. We might come back to this later again and add a few more lines lead over after creating the flowers in the front that you seem. Also noticed that I'm lightening the shapes of the green by adding a little bit of white to it. So it's the same green, but I'm just lightening the tune a bit because as we're moving to a straight, it's more dark background rate, so the more lighter you do, the shades it'll look much better. Also, change the height of the lines that we are doing. So if you look at the painting, the lines are getting 3D smaller as we move into the right. So make sure that you are sticking to the heights are differently. Make it asymmetrically. Don't keep it all at the same line. Now, like I said, some of the lines are not that visible, so I'm going back to the previous area and I'm adding a few more lines. And now the same textures that you added before with those small brush. Now I'm adding the same thing with the small brush on top of these lines. As you can see, some of the flowers that are there in the front of the lines on the sorry, on the picture. You're trying to create exactly the same way, but this time, rather than using the flat brush, because the flag with a flat brush, you don't have a lot of control on the an area that you're covering because it can go a little, it can spread out in a lot of area. But over here you want to really control way of textures and you don't want to put too many flowers, right? So that's why we are let us take a little bit more time probably than the flat rush, but we'll use a small brush to create this texture. So I'm moving a little fast, but you guys can go slowly, watched the video and then go slowly and create small fixtures. Again. If you are not made it full screen, make it full screen so that you can see how I am adding all this detailing. Again. Keep changing the sheets. Don't keep on using the same. She'd keep adding a little bit more black or yellow or more wide depending on the place that you're painting on. So I don't want you to follow me blindly away. Your what color, what she'd I'm making, but rather understand the concept that you want to use, the color that will be prominent on the background that you have been doing on. So accordingly, suit the color that you need according the place that you're painting, right? So I'm adding all this vibrant yellow flowers in the front of the painting, which is, which is basically the bottom of our canvas. So they look really nice. And it's pretty much starting to look like the photograph that we have. So keep adding more flowers here and there. Also, one thing that I've noticed from teaching this painting allele is that my physical students, what they generally tend to do with the aim to create the flowers, these dots that I am doing in a more symmetrical way. Not, don't create a square or a rectangle or a circle while doing this, make them really, really abstract. Keep them really everywhere in the field area. Don't try to follow a sudden, sudden ship while you're doing this makes them really random field. What I'm doing is I'm keeping an eye on the painting, but I'm also feeling free to go and add flowers wherever I feel like. So also another important tip while creating these flowers is varied. Sizes of the flowers also don't make them all of the similar diameter. So some of what I mean by that is some of the flowers are really big and some are really small. Ok, some veiling the sizes and the shapes of these small dark flowers that I'm creating. So it gets really easy to do when you understand that technique that I'm doing. The fonts served to behind it. And then you should be able to create it on your own the way you want it. Will I move around in my painting quite a lot. So whenever I feel like I should add more light on the top trees, I just go there and add more. But feel free to do the way you want to. Know why have washed off my small brush because it's black before remember, we had mixed yellow and black. No, I have washed my brush clean and I'm mixing fresh yellow and white because I want to add a layer of fresh yellow on top of all the agreements shaped sheds that were created before. So now it's time to create some fresh loop to bring some vibrancy in the painting. So I am using only yellow and white now and adding it, adding one layer on top of the previous layer. The technique is just the same that we have been doing so far. Creating more textures with your small brush. However, if you feel and the flat brush technique works better for you, feel free to use that will produce a flat brush if you have an old brush even better. So feel free to use that brush with the technique that you learned at the beginning, the beginning of this painting. But since I'm working on a really small space, my sketchbook is really small and I've drifted down. So in this small area, I'm not able to work good with a flat brush. But if you're working on a bigger size canvas, I think the flat brush technique will really help you achieve that. Right now it's starting to look very similar to our photograph on the left. Now started to add a little bit more green, yellowish green towards the bottom, just to make them look really vibrant. Because the more yellow you add to a painting, the better it looks in terms of web vibrancy and everything. Because there's a nice painting. It might, as in a night photograph, it might look a bit done. If you don't brighten it up. Add some finishing touches if you need to in some different places at more textures. Now, like I said earlier, I'm going to add some more vertical length Leto. So after adding the textures, the flowers, now I'm adding a few more lines here in there. It's all about leering. So if you are painting a landscape for the first time in acrylics, This is one of the things that I teach in all of my classes that always, always build up layers after layers in a painting. That way you get a really, really good idea of the depth of the building. So now if you look at my painting, it's starting to look as if you can get inside the bingeing and you can walk up to the heart. And that comes, that thing you can achieve only by creating layers after layers, right? So the same thing that I did before, I'm doing it again most of the time what I've noticed is that people give up after doing one or two layers. But the more layers you belong to a UC over your right? No, I'm probably working on a toddler. If not fought. So the lines and then the flowers, then few more lines than few more flowers. And that should be good. I have, I have followed artist, I can't remember the name now. There are people who do even ten layers and they're painting looks like that is specifically for people who want to create a lot of realistic landscape. But over here, since we're not creating realistic landscape, and since it's an abstract landscape, you want to play around with the colors and textures to create as much real you can make it look like. But at the end of the day it's still an abstract one. You don't want to make it too realistic, but I think our painting is coming to look very similar to the photograph. It's all about patience. So don't rush through the process. Enjoy this process of adding flowers on the cameras. Don't be in a rush to finish, to spin around. I am adding some more pictures on the heart here. But if you're happy with the way it is, you can leave it. One of the things that I really enjoy about painting is that it gets you into a meditative state where you can, I can just keep on doing this and this for hours. Like even if the flowers are done, I can again go back and add some more layers to it and creates a more vibrant say out of it. Again, now I am just outlining the hot and I think the same textures that we added at the bottom in that area of behind the heart. So that the hot and the roof looks very prominent because earlier when I use this big brush, it was pretty much blended into the hut. So it's, it's good to just differentiated where the tree is and with the hut is. I'm adding a little lighter too on the staying behind the heart, just to make it look vibrant. Adding some more yellows. It's all about getting into the painting and descending whatever you need to in wherever, just to go with the flow and keep adding colors, textures Here in there because it all adds up to the painting that you would create at the end, we're almost at the end of the painting guys. It's almost done because because I'm pretty happy with the way it's looking right now and I think I'm going to stop. I'm adding just a few dark shadows in between so that the flowers pop out even more. And we are done. 8. Step 6: Final Touch Ups: Okay, time to peel off the tape around the painting, but be very careful on do it gently and ways you might tear off a little bit of your page and the painting. So do it carefully and let the magic happen. I loved this clean, neat, crisp white border around my paintings. And now some final touches to the painting. So what I'm doing here is adding a few more lines. And this is an added additional state guys. So if you want, you can ignore this tape. But what I'm doing here is adding few more leaves and flowers popping out of the Bejing onto the whitespace. Because I really, really like when the painting extends a little bit extra, It's like always giving your viewers, your audience a little bit of extra stuff they've been doing, right? So feel free to play with your bingeing. This is just some ideas that have given you. You can use this in your other paintings as well. So we're pretty much doing the same thing that we did on the field area. And you just extend it a little bit. On the white side. There isn't much too narrow, mature, so I'm going to leave it to you guys open to watch. Enjoy watching this tape and add it to your painting if you want to. Ok. Yeah. Mm-hm. 9. Project and Final Words: Welcome back. I hope you had a lovely time creating this beautiful painting. I had so much fun tearing this painting and teaching you guys how to read this beautiful landscape. It's so easy, it's just creating different expectations. So I hope you've got a hank of creating pictures by the end of this last now. Now your project is to create this exact painting firsthand. Just copy it and try it out on your own and post-it under the projects fellow. Now, if you're feeling super, super enthusiastic about after creating this first painting, I want to give you an assignment. Find out any picture that you can find them online, or maybe a picture that your plate techniques and create a beautiful painting and share it with me. I would love to see what you guys are creating and don't forget to connect with me on Instagram. There you can see on the, behind the scenes happening inside my studio and you can connect with me directly. Alright, so see you in the next class. Bye.