Autumn Landscapes - A 10 Days Masterclass with Gouache | Nilam Roy | Skillshare

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Autumn Landscapes - A 10 Days Masterclass with Gouache

teacher avatar Nilam Roy, Watercolor & Gouache Artist

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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

29 Lessons (4h 19m)
    • 1. Hello & welcome Back

    • 2. Materials Required

    • 3. Knowing The Medium: Gouache

    • 4. Right Consistency in Gouache

    • 5. Day 1: Color Palatte

    • 6. Day 1: Onset of Autumn - Part 1

    • 7. Day 1: Onset of Autumn Part 2

    • 8. Day 2 Color Palatte

    • 9. Day 2 : Orange Woods

    • 10. Day 3: Color Palatte

    • 11. Day 3: Autumn Valley- Part 1

    • 12. Day 3: Autumn Valley- Part 2

    • 13. Day 4 : Color Palatte

    • 14. Day 4: Autumn Reflection - Part 1

    • 15. Day 4: Autumn Reflection- Part 2

    • 16. Day 5: Color Palatte

    • 17. Day 5: Maple Leaf on Water

    • 18. Day 6: Color Palatte

    • 19. Day 6: Indian Autumn

    • 20. Day 7: Color Palatte

    • 21. Day 7 : Autumn Barn Part 1

    • 22. Day 7 : Autumn Barn -Part 2

    • 23. Day 8: Color Palatte

    • 24. Day 8: Fall in the Autumn Woods- Part 1

    • 25. Day 8: Fall in Autumn Woods Part 2

    • 26. Day 9 : Color Palatte

    • 27. Day 9: A Road to Autumn

    • 28. Day 10: Color Palatte

    • 29. Day 10: Sunflower Field

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About This Class

               "There is something so special in the early leaves drifting from the trees–as if we are all to be allowed a chance to peel, to refresh, to start again."

                                                                                 – Ruth Ahmed

Hello hello my lovely friends. Hope you all are doing hearty and healthy. I am back with yet again another class which is filled with colors and life. 


Yes, it is the season when every leaf seems to be a flower. and we are going to explore all this beauty and color with the medium Gouache. 

In this class, I will be taking you through all about gouache and its do's and dont's that every artists needs to know. Each day for the next 10 days I will be uploading projects to the class and we will be slowly complicating subjects as the days progress. 

Meet Your Teacher

Teacher Profile Image

Nilam Roy

Watercolor & Gouache Artist


Hello Beautiful People, 

I am Nilam Roy, a watercolor and gouache artist based out of Bangalore India. I love travelling and find solace in painting beautiful nature landscapes. I am a thalosophile and a nephophile. Crazy right? 

I can't seem to get over my obssession to paint these beautiful skies and seas!! I explore these landscapes with different mediums such as watercolor, gouache and acrylics. Watercolors and gouache has been my go to or favourite mediums to explore.

I started my art journey on social media around the end of 2019, but was too scared to post due to lack of confidence. Believe me, when I say this confidence comes only through practice and practice makes a man perfect. And today here I am much more confident in my approach. This confide... See full profile

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1. Hello & welcome Back: Now that September is almost coming to an end, it seems that we can almost smell the fall in the air. The transition of colors that you witnessed during the season will leave everybody spellbound is ended. The beautiful transition of greens, two yellows, to that of pleasing orange and red, along with those bright blue skies with little fluffy cotton ball Klaus, who will not love it. In India, however, autonomous felt a little differently from that of those are the countries where you get to witness those beautiful change in colors. Hello VC and feel autumn by the bright blue skies and swaying guns grass along the vast expanses of middle's around us. Are you feeling the excitement and the change in air? If you are? So let's jump into our class and let's paint with all your heart and soul, this beautiful autumn landscapes. In this class, we will be exploring autumn landscapes and then different color combinations. And then days. And by the end of which you will be also mustering goulash quite a bit. We will be focusing on all the basic know-how of the medium guage that you should have and starting from how it behaves when it dries too, though consistency that it should be used. Also before we start on with the project. Each day, I will be introducing you to the colors that we will be using for the project for that particular day. So you need not worry at all. I will be there to guide you at each step of the process. So come join in the class, and let's paint some beautiful autumn landscapes. 2. Materials Required : Hello guys. Welcome back. And let's quickly take a look at the materials that we are going to require. So this is 25 percent water color, 300 GSM people. This is from Fabriano. Now for guar shoe does not require that you have to use very good quality watercolor people like that of a 100 percent watercolor cotton paper. So this paper was an approximately for SASE but then I have sighs did down to a size of 20 ones and Demeter and do 26 centimeter. So this is the size of the beeper that we are going to use for our class projects. Okay, Now moving on to our brushes. The brushes that we are going to be using from synthetic flat brushes, which is from Princeton velvet, that series. Now these are synthetic bristle brushes for kwashiorkor is always recommended to use synthetic bristle brushes because it holds less water as compared to the natural or natural and synthetic hair brushes. So I would always recommend you do use synthetic hair brushes because it springs back to life and it does not so soft and delicate like that of the natural hair brushes. So and along with this flat brushes, I'm going to use a size two round brush also so you could pick up your any detailing or liner brush for the same. Now, it is not necessary that you need to use this particular brand or brushes only you could use any brushes of your choice. So this is a natural hair brush that I have, and this is the acquire large cities synthetic brush from Princeton. So the National airbrush I mostly use for my watercolors, whereas the synthetic hair brushes I use for my squash. So yeah, these are the brushes that we are going to be using. So next will be our masking tape, because masking tape is the one where we will be fixing the Han and paper onto a flat board or surface to give a clean, smooth edge. And next is two jars of water. So next is palate. So this palette is a ceramic palette, so you could use any plate or anything that you have got to as a mixing palette. Next is some tissue towels or tissue paper to dry your brushes. And now the most important thing is your guage. So this is a masterclass. Gore said that they have along with me, as well as this is In didn't brand known as brushstroke grew GARCH set. So this is mostly available in India. So if you do not have this thing available with you, you could always go ahead and use any words that you have along with you masterclasses generally available internationally also, so you could try out dark. So yeah, that's all for the materials that we are going to be using. So let's jump into our class. 3. Knowing The Medium: Gouache: So if you're short on Skillshare for quite some time, you would already be knowing that I had earlier released a class on guage sky escapes. And I had explained the difference between guage watercolors and a crater lakes and how to handle this medium in a great detail in that previous class. So I would suggest you to go check out that class. And in this class, in short, I will be explaining all of that in the form of quick tips and tricks. Now gosh comes in tubes as well as in this jars or cups. So I'll be demonstrating you how gouache is best used when it is freshly prepared or freshly squeezed out from the tubes or it is freshly made from the bottles or digits. Here as you can see, I have squeezed out my gouache brush and using our damp brush, I'm going to layer this on maybe a border. I mixed it and I'm layering it on maybe a bird though color is flowing smoothly on the paper. But I find it a little routine, so I'll go in and add in some more of that. Gosh. Now it is to take our consistency and hence the streaky or the dragging, my brushes dragging on the paper and producing the streaky lanes. So this is because my gorgeous to take, but yeah, this is one of the best way that you can walk with wash. The second thing is I'm going to show you the same consistency that I'll be preparing using this color which is there in my Borden. I have taken out some of that color and I'm trying to create smooth, buttery like consistency of the paint. So you can see it's layering down smoothly on the people. So this is the beauty of freshly prepared quash or freshly squeezed out guage from the tubes. So next year I'll be showing you by reactivating though guage which has been dried on your palate. So many of us would be having this rate. So I'll show you the difference. So I am trying to reactivate it by using water. Now this is a little time consuming process because sometimes when the garage is all dried up in appellate, it takes little time to get diluted with water. And as you can see when doing this process, we then do diluted so much that you know, when we start applying and the people, though underneath layer of the people gets exposed and you would see that streaky kind of appearance is there on your people. Now I'll be showing you the same process but leftover are dry, kind of red-brown beam that they had on my palette. So I'm trying to reactivate with the help of water. Because when doing this process it does little time consuming. And if you're not able to, you know, get the complete pigment dissolve in the water. Though being consistency will be due. Ten, as you can see as I'm layering down it on people, you can see this streaky kind of appearance that is providing on people. So it is because are being distorted. Because when trying to reactivate the paint, we are mixing too much of water. And so though water to pigment ratio gets hampered in this process. So next album showing you the difference or the principle that walks behind guage. That is, Doug wash appears little differently than that of watercolors. The lighter colors and guage, dense to dry. Darker variables though darker color and guage tends to dry, lighter. Interesting isn't it? Urines example, I have layered my black gouache on this people and apply their smoothly and on drying you will be seeing that this darker color when almost look really faded out. And because it has a matte appearance obviously, given that fact. But this is the principle that walks the lighter colors will always appear darker than that of the darker colors. So I'm trying to produce a lighter color, but I see my white gouache has already dried out. So I'm checking this out. I'm not going to use this Elvis squeezing fresh whitewash on this existing beamed pigment that they have. It is just because they had that little bit of green. And as you can see how messed up mentalities, I don't want to squeeze anymore fresh colors. So I'll be just going ahead and showing you so mixing their divide as a porpoise, because when you mix white, your original color tends to go a few shades lighter based on how much of white quash you are using. So that is a difference that I'm trying to show your I'm trying to use the lightest possible shade that I can get from this by mixing this light wash and you can see the difference rate. The black looks totally faded out. And where is this lighter colored as popped out real live in, isn't it? So yeah, this is the difference between the freshly squeezed spins reactivated gouache and difference between how the guage appears on people, the lighter shades and the darker shapes. Hope you find this tools. Are examples helpful. And let's dive into our project. 4. Right Consistency in Gouache: Okay, So coming to what exactly should be the right consistency in wash, I'll quickly show you how we can achieve the right consistency by just explaining you, but the help of this example. So as you can see, I'm just trying to dilute my paint which I had just mixed earlier. So I'm going ahead and mixing it with water. And as you can see, this is very watery mixture of quash. You can see the underneath of the beeper is getting exposed. So this is not how we want to go ahead with wash. So when you feel that your guage is too watery and is almost like Dart of watercolor. So you should be knowing that this is not the right consistency of the guage. So in order to get the right consistency of the gorge high did not go and squeeze out some more of that paint. I rather pulled in the white quash, which I had the corner of this palette. And as you can see now my paint has turned into smooth, creamy and battery. So when you are applying the smoothed creamy and buttery paint on your people, so first, you will see the difference, it will automatically feel the difference. Now, this field you would only get by practice. So the more and more you start exploring with quash, the more it will be easily. You know, you will be able to comprehend easily what is exactly the right consistency. Now, here is another example. I have directly squeezed this color from the tube. And now with the help of my damp brush, I'm going to spread it out. So as you can see, well, I'm spreading it out. I am getting some marks are strings and Draghi marks on the people. So this means my washes to take. And even if Miguasha stood tick, it will still kind of leave those tricky marks on the people. It will look very peace t. So this is also not the right consistency. So the right consistency is the time when your guage will be smooth and battery and you will be able to apply it without any difficulty on the people. 5. Day 1: Color Palatte: Project. Let's quickly take a look. What are the colors that we are going to use far I. So let's begin with the first color that is white. So I'm using white quash that it's kind of obvious. But white is the mean coloring guar. So just be ready to get some big tube in hand when you are starting with gouache because white is the color that you will be exhausting the most. Now these are the colors that we are going to be using for our D1 project. And these are all the autumn colors that you can see we will be using for our project, except for this, suddenly this guy rest. All the others are the MMU did and some bright dawns to give four. 6. Day 1: Onset of Autumn - Part 1: Okay, so let's get started. So I have div down might be a bird on all four sides using my washy, our masking tape. Now we will be starting out with the pencil sketch for that. I am using a ruler and a pencil now 34 doff my people would be this guy and the mountains and the other part will be the leak. Now once you are done outlining your mountain. So next we will be painting another small hillock kind structure on my left-hand side. And I'll mark the center and I'll draw a small mountains underneath the bigger mountains. Now, it's time to get started on with the colors. So now I'm squeezing out my cobalt blue and then a little bit of blue colored and I'll be mixing them together using a little bit of damn brush. Now, yours one small tip in order to have water control. Always use a spray bottle when you are trying to mix the colors or make it smooth, creamy consistency. Now, with the head above the tip of my flat brush, I'm trying to do though sky. So on the left-hand side, I'm creating a dramatic effect by adding some darker shades. Well, on my right-hand side, using slanted strokes of the brush, I'm trying to blend in though, whitewash that I had added in and I'm just mixing the colors together directly on the people. So this is the beauty of God. See, I'm using the tip of my flat brush whenever I'm trying in and blending in the colors. So yeah, that's very important because you are working with the tip of your brush in order to outline this mountains or do, you know, have some slanted strokes of the clouds or the sky. So always work with the tip of your brush and only when you are about to do leg full color blocking technique. Now, color blocking is a technique where you block out the certain areas or parts of your. So first with just colors, you know, and that not much often, you know, technicalities is required. So for caliber blocking, you could use the head of your brush vitals. For this kind of painting. Mountains are creating this cloud leg structures. Always use the tip of your brush. As you can see, I'm using my angle shader brush now and only the angled part of the brush I'm trying to use and create this fluffy like cloud-like structures. If you do not have this brush, do not worry. You are quite good to go with just the tip of your flat brush. So for that, uses smallest size flat brush and he would be able to get the same results that I'm getting with this angle shader brush. Now for Guan should always remember that whenever you're doing these techniques of creating clouds or creating this sky patterns, are there any patterns where little bit of dry brush technique is involved? So when I'm telling dry brush technique, it is evident that your brush needs to be just damp enough along with your paint to help you achieve desired results. As you can see though, from the moment I have started painting the sky, I have not for one's van den dipped my brush in water, maybe just the tip of the brush. I would have dipped in water and just dip, dip bureau artist. It is always advisable to keep your colors mix ready as a creamy, buttery, smooth consistency like I had shown previously in the earlier lessons of gouache consistency. So yeah, so always keep your colors ready so that you need not go and dip your brush again and again in water. But if you are dipping your brush in water, just make sure that when you are starting back with the painting, you're not just damp your brush lightly on our tissue towel or a tissue paper, absorb all the water and you're good to go with the colors. I have started here with the mountains. Now as you can see, I'm using this angle shader brush and I'm going with the slanted motion. Now this landed motion will give you that mountain slope. So for this law, always go ahead and do only add one directional slope. Do not go with multiple directions low because that would be a little messy and it will not bring out the desired look of the mountain. So always go ahead and do along only one side. Bringing contrast of colors use darker strokes or the drug or darker shades of color. And in some media's use some lighter shares just to indicate those shadows and the light play. So the areas where it would not be receiving light, those areas would be darker and the other areas will be lighter. So if you just paint an entire mountain with just one to one of the colored, it would look too flat rate. So in order to do that, we are going with different tonal variations of colors, a little bit, dark shades and lighter shades as well. And now on the top and side I am trying to create this small brush strokes indicating the snow like pattern. And I'm keeping the peak of the mountains as the snow-capped mountains. I'm not color blocking or filling them up. So just with the random motion of the brush, color blocks are deniers. And maybe if you're not comfortable doing this with the flat brush, go ahead and use lining order detailing brush and use small, small vertical strokes or a horizontal slanted strokes and create that textures in the mountain. No cases and guage, we do not use rough green people because you're, you would not be able to smooth. You know, your brush will not be able to ladder the pins moody on the people. So for that reason, we are not getting the desired textures as how we would have guard the using watercolor dry brush technique. So your to create that texture, I'm creating this small, small lines or patterns on the mountain to indicate the depth or dough texture in the mountain. And now, when you are approaching the base of the mountains, just color blog the entire base of the mountain. And make sure that you smoothly blend of the kalos and clean out those edges just with one stroke of your brush when you are done. So I have divided this class and do this segments. Now the next segment would be the water reflection, which I will be C, which we all will be seeing in the next part of the lesson. For now, it's just the mountains. So if you are done with the mountains, go relax the bag. If you are diode and join back again with me for the reflection part. 7. Day 1: Onset of Autumn Part 2: I hope you guys are well rested now to take on are the next part, which is though painting lake or the reflections of the water. So for that I'm creating your mics off my civilian blue plus white gouache. And I'm trying to create a clean, nice, smooth consistency beforehand so that high need not again, create the same mix when I'm painting, because that will create an inconsistent of blending as well as the color won't match. So before you begin out this step, I would always suggest you once you have Mexicanos, what Giordano scrapie. So people are and test it out. Now as you can see on the right-hand side, I am going a little bit darker shadows I'm trying to build because that side is the Dockers mountains. And towards the left side I'm going and adding white dwarfs. Now, an important thing to remember is that gosh does not behave like watercolor. Yes, and that's a mistake. Lot of beginner mix that, you know, they tried to dilute the wash. Just like how are we doing watercolor and try to create the different tonal values? No, that's not the right way to do it. And guage for gosh, you need to make some white paint because gouache is an opaque medium, right? So it will be opaque when you mix white in it and create the lighter sheets. Now to create some more darker shears, I have added a tinge of burnt umber into my sky blue mixture, that is the civilian blue plus white mixture that I had. And I'm going in and creating this small ripple leg structures in the water that would demonstrate, you know, there are some ripples in the water. So I'm just going and adding those shadows underneath those ripples, leg patterns that are formed. So for this, I'm using my angle shader brush. The benefit of using an angle shader brush is angled V. The brushes made the Brazil is angled. So it is just perfect to create all these kinds of patterns, especially when you are dealing with acrylics and gouache. And even a lot of artists uses Angular Shader brushes with watercolors also, they form beautiful leaf like patterns and florals. They are Julie versatile brushes. So, but it is absolutely okay if you do not own them. But yeah, these are the kind of specialty brushes that one must have if you are continuing your journey and are able to see the benefits of this brushes. Okay, Now next, moving on to our tree part that we are going to do. So this is just kind of island that is there on the lake. So we will be painting trees on this island now. So for that I have mixed yellow ocher and a little bit of red light. So I have your pleas the thing at an angle so that you can clearly see exactly what I'm doing. So with the help of my angle shader brush, I'm just going with vertical strokes. At the tip, the topmost part. And then when I am at the bottom, I'm adding in some darker shapes so that it is easier for us, the lighter shades to come out. More stocking Lee? Yes, that principle will also a blade that, you know, lighter shades dry darker and darker shears dry a little lighter. So for that reason we are mixing in both the colors so that there is that depth in that forest that we want to show you. So we will be going with mics off autumn colors, that is orange, yellow, and media law or cadmium yellow light, little bit of red. So yeah, those are the vibrant shades and yes, of course, the green color. How can we miss the green color race. Okay, So when you are doing this step, always remember that our TR, gouache consistency should take, you should be freshly squeezing out to your guage. Do not try to dilute the garage and use it for this step because it will end in a very watery kind of mixture and you will not be able to get the desired results. So and also before you start layering this detail, tree-like structures wait for your background layer to dry. Orders, though. Colors we'll start mixing into one are there as soon as you startling though, wash on the top of the other layer. So you have to be patient. Little bit, but gosh, dries really fast, but not as fast as that of the acrylics. But yeah, it is much faster drying medium as compared to the watercolors. So I hope you keep this in mind when doing this step. Always use a thicker consistency of makes when you are trying to create this tree-like structures. Especially the edges of the tips because it needs to be sharp to, you know, to indicate the line or the outline of the tree shapes and to create the depth and the trees use different tonal values of colors. For example, our dog and lemon yellow, for example, of that tree, I have used green and on the outer fringe I have used this lemon yellow to indicate, you know, the light shining on the streets and it is getting reflected. So yeah, in age and every element, the light and shadow will play an important role. So you should know to take care of that. And also, I'm making this Grass Lake outlines just at the edge of this land where the streets are emerging out. So you can use this grassy like patterns here in the trees. Next, we are going to start painting the mean subject of the painting that is the main focal point is this tree. So for that I'm using this bond amber shade. Now, I'll be creating textures on this tree by just varying the color tones that I'll be using. So just keep watching very attentively what I'm exactly doing. So I'm just trying to use the docker mix now to create this. Emerging are the stemming branches out from the tree. So use crooked lines and little staggering and use a liner brush. Or if you're comfortable with round brush size number 1, R2, you could also very well use that. I'm using size number two brush from silver black velvet series. I hope you are watching me closely because as you can see, I have held my brush, just add though almost at the tip so that I have better control over the brush. And also I'm creating highlights on the street by using the Kahlo bond. A little bit of burnt sienna mixed with a little bit of yellow ocher plus By. And I will be painting this highlights on the stems as well which are emerging out from the mean branch or the stock of the tree. Now as I'm going towards the top, I'm using very thin, delicate lines to show the branches are emerging out. If you cleared that take branches, it won't look good. So always try to me though, tips of the branches, chapeau and tunnel. So that would look really very pretty when you are painting the tree and when you start creating foliage, it looks so lovely. So your right now, I'm trying to make this blanches stem out in quite a bit at the right-hand side. So now I'll be as I had told. Oh Leo, I'll be adding the details here. I'm adding these highlights on these branches as well. Once you are done with the tree, now it's time to create those shadow ripples in the water. So we are using the same greenish mix that we had obtained by mixing little bit of bond on board in our sky blue mix that we had created earlier. So I'll be going with that mix, make sure you do not add any water. Yes, I'm going to repeat it again and again and again. I'll be using this bunch to create the foliage on the trees. Yes. We will be learning how to use this bond. So before you begin directly on your painting desktop, GIS bond with the colors. Do you have just dab the sponge with? So does the colors out crappy. So people, and once you are satisfied with the effects that is producing, go ahead and, you know, squeezes little bit for better grip and also to have a control on where though sponges dabbing. So use that motion and yes, again, I'll be repeating freshly squeezed out gosh paint only. Do not try to read those bonds. Because if you read this bond, you will not be able to get the desired effect. So with the dry ice bonds, this is a dry brush technique. It is almost like a dry brush technique. So with the dry ice bonds, we are going to create this foliage of the tree and it will be very easy to do this once you get it right. So observe closely how I'm doing it. You, I am using different range of colors in your leg. All the fall or autumn colors that you would see on a tree. Because this tree is the highlight of our painting. So we need to get it right. So that's why I'm doing it. Now. What I'll be doing is I'll be going ahead and creating the exact same shape of the tree in the water with the yellow ocher because we have the blue water. So yellow ocher will be the only safe. Yellow that will not give you a greenish mix, but it will turn a little bit of murky. But that's absolutely okay. Now it's time to peel off on masking tape. So it'll be peeling it out at an angle like we always do. And this is something really very different from all the other autumn landscapes that edge and I hope you enjoyed it. And I will be again seeing you tomorrow with the new painting. So stay tuned and keep watching the class. Thank you. Bye. 8. Day 2 Color Palatte: Hello guys, welcome back to the two. When for d1, the sweater color palette that we are going to use. So for day 2 also, we are going to almost select the same color tones only. Maybe some of the color tones will get deleted and we will be focusing on particularly the scholars. So let's get started. The first column would be certainly in blue color. So this is the color that we would be using for Sky. Next. Hello. Hello. And white, burnt sienna, scarlet, red light, then muddy yellow or gold ocher and last but not least, black. Now, I'll be showing you some of the lighter shade colors as well, especially for the sky that we have used. Certainly an invite to create a gradient blend. So for that, I'll just show you the color tone that we need to achieve by mixing these two colors so that you get an idea, which is the lightest shade that we are going to use, mixing several in blue and white. So this will be the shape that we are going to use to me though, gradient mode, top sky. And the next one would be mixed yellow ocher mixed with white gouache to create the gradient for deep bottom. So your swatch of color. So this we can achieve just by simply mixing two parts, wash and one part, say yellow. So you need to make sure that you achieve the same color tone. You need to go for the light to sheep. So here is a recap of the color palette for your IV. So I hope you are ready with the colors and all the other materials. Let's jump into our day to project. 10. Day 3: Color Palatte: Hello, hello, Welcome back to D3 and we are going to paint this beautiful project for our D3 class. So I have named this as Artem Valley. So now let's quickly take a look at the colors that we will be using. First is Sarah Lynn blue color, which we are using for the sky. Throughout our class project, I have tried to stick to the same color palette that we are seeing from the first class is just that subject compositions are varying as we are progressing each day. But overall, the pallor that I am using is that typical autumn or default color palette. As you can see, I'm using shades of Sierra Leone blue, burnt sienna, red ocher, green, Deep lemon yellow, red, light yellow ocher black. So these are all the typical fall colors. And now to make, make your red ocher, you could use burnt sienna along with some whitewash and you can get a shade close to that. So your is again a recap of all the colors that we have used for this project. So see you in the class project where we are going to be in this beautiful autumn valley. So this is kind of different rate than the typical or dumb landscapes that we see. So come on, let's get started. 11. Day 3: Autumn Valley- Part 1: Hello and welcome back. So let's get started with painting. But for today's painting, we are going to go portrait mode instead of the landscape mode. Though. People say this is the same as 26 and do 21 centimeters. So I'm just going to draw quick pencil out lane. So this is a very, very simple project. It's just we wouldn't be playing with the autumn colors and creating a beautiful autumn Valley. So I'm drawing the mountains. And then towards the base of the people is my floral middle. So now the mountains make it in different shapes and sizes just to give a more natural look. So let's get started. First, we will be painting the sky. I will be using masterclass guage for this painting today. I just felt like using the master glass garage today. So I'll be using for this guy, the civilian blue color from Bruce draw, even if you are using masterclass GWAS, you could make this color by using ultramarine blue mixed with a little bit of Prussian blue and white. So you would get similar looking shade of the sky color. So I'll be squeezing out some more of that serum in blue color and I will just go over this guy. I am also a mixing a little bit of whitewash in order to have a gradient blend. Now always do remember that for gouache, you need to use a flat brush which is at least three by four inches or one inch. Because the more bigger the painting, the more coverage area you would need to block out your colors are the areas where you need to pin so dense objects. So for that, it is easier when you are color blocking those areas. It's easier when you have a flat brush for that. But instead of flat brush, you can also use an angle shader brush. Now always remember to use synthetic flat brush or any brushes whether you are going for a wash. Because synthetic brushes springs back to its shape and leg. The natural brushes which quite loses our dish. Apes or natural brushes are more used in wash, sorry, he and watercolor paintings rather than in quash. And also the water control is very important in wars since natural brushes hold more of water, it is not recommended to use them for guage. As you can see, I have not at all damped my brush again once I started painting the sky. So it's very essential that you keep your column mix ready, which should be creamy consistency. And then the painting browsers is going to be much smoother. Now, once we are done blending the colors of the sky, we will let the sky area dry. So in the meantime, we will be going and color blocking the medial part. So Albert color blocking the middle with black color as the base coat. Okay. So I'm just cleaning up some ages and near the mountains now. So I will be mixing. I'll be just going ahead with solely black for this, be scored for the middles. But if you want, you could also mix a little bit of green on it and create a blackish green mixture and do this medial part. But since I wanted my background to stand out, so I'm using the black gouache because this black will dry Mac, when it is dried out completely and it will go and it will look a shade lighter. So that is the reason I'm going ahead and using solely black so the cologne come out in a very contrasting and sharply. Just like we blended the sky. I'm also blending in the same way, this middle part. And I have not used water at all. I have directly use the pain to that was there in my gosh dubs and I have just painted this middle with entire color blocking. Now, I'll just go and cover or mock-up some ideas on the mountains where they would be shadows. So this shadows try to keep it. I'm varying the students and invading shapes and sizes on the mountains because the mountains, when they are in a range, they will cast shadows. So that is the reason. Now I am going ahead with dry brush technique for making this clouds. So this is another technique of making the clouds. If you have colored the area, led the area get dried and then go ahead and use a dry brush with your just freshly squeezed white wash paint and use landed motion of your angle shader brush. Now if you do not have angled should a brush you could also use of small flat brush, most probably a size number 2 or 3 would also do the job. Use just the tip of the brush and use this landed motion of the brush and drag the brush along. The people. Do get this beautiful effect of clouds in the sky. So my favorite part of painting this guy is making this cloud lake shapes. I totally enjoy doing this process. And sometimes when you're blending is not perfect, you could cover up those imperfections in the blending by just adding some clouds, this kind of fluffy clouds in the sky. And it just beautifies the entire sky, you know, so that is the best part of painting clouds. I'm trying to cover up the entire sky, leaving some bluish areas also. And making sure that I'm totally doing this dry brush technique with the brush and in-between, I'm adding some volume in the clouds, bye. Layering that area with more paint and then dragging it on the paper so that I get this streaky kind of cloud looking shape. So I love doing this. Maybe I can just go on painting those clouds in any gouache painting, bead guage or watercolors. I'm just obsessed with painting skies and clouds. So anyhow, I hope you are following this process because very soon we will be done with dark sky and then we will be proceeding to our mountains. 13. Day 4 : Color Palatte: Hello guys, welcome back to day 4, and we are going to paint this beautiful reflections in the lake. So let's take a look at the colors that we are going to use for today's project. The first would be Sarah Lynn, blue, yellow, green, deep green, our sap green, lemon, yellow, and black. And of course we would be using white because this is the main and red light. So here you could see I have not used any brown shades for the painting is just this colors. So here is a recap for all the colors. Again, I hope you take a note of this color so that it's easier for you once we start off with Doug painting. So grab your colors now and let's jump into our project and loan to create this beautiful reflections in the lake. See you in the next lesson. 16. Day 5: Color Palatte: Hey guys, welcome back Today phi IV and we are going to paint this beautiful maple leaf on water. And let's see what are the colors that we will be using to create this project. So first would be civilian blue, then red and yellow, then green. The Brener olive green uses sap green color and then black. And last but not the least, ultramarine blue. And obviously when we are painting this may believe we would be using some orange. So and for that reflection that we had done, for the leaf immersed under the water, we would be using whitewash. So that's all for the colors. So here's a recap of all the colors that we are going to use for the project. I hope to see you in my next lesson where we are going to paint this beautiful painting. 18. Day 6: Color Palatte: Hello guys, welcome to D6. And this is how the autumn fees in South Asian countries, especially in India. So let's quickly take a look at the colors that we are going to reusing for this landscape. And I'll be telling you more about this autumn landscape in the details in the class projects section. So yours is a recap of all the colors that we are going to be using for this class project. So get your colors ready and let's jump into our next lesson and let's start painting. 20. Day 7: Color Palatte: Hello guys, welcome back. Today's Seven. And today we are going to paint this beautiful autumn landscape, but the bond. So let's see what are the colors that would be required to be in this beautiful landscape. For this project, we will be going with typical bright autumn colors such as red, yellow, yellow, deep green, the minty green. Then we would be going with burnt sienna, yellow ocher, red ocher, burnt umber, and then last but not the least black. And of course we would be using this white quash without white course there is no going back. So this is say, Tanium, right? So here is a recap of the colors that we are going to use once again. So, yeah, get all your colors ready and let's jump start that process. 23. Day 8: Color Palatte: Hello, Hello guys, welcome back to the aid. And this is what we are going to paint today. This beautiful autumn waterfalls. So isn't it already looking so gorgeous? Are you tempted, so calm? Let's quickly take a look at what are the colors that we will be requiring. The colors burnt umber, burnt sienna, red ocher, gold ocher or yellow ocher, green, the lemon yellow, cadmium yellow light red. And we will be using black. And of course we will be using white gouache because that is a very, very important one and we will be mixing white gouache and making other colors that just mean to green. And also, I will be mixing white wash with reds and yellows. And we'll be creating some pieces and light color tones like this, the ones which I have used for painting the leaves. So don't at all worry about these colors because I'll be showing you at each step of this color mixing when we are into our painting. So here is a recap of all the basic colors that you would be needing for painting this project. So come on, let's get started. Grab your gallows and brushes, and let's deep dive into painting and create a stunning, beautiful autumn false. 25. Day 8: Fall in Autumn Woods Part 2: Okay, So we're back and now if we will be painting though water. So because we had already done preliminary be scored of that, why Dan mixed in those of brown shades to denote the rocky areas in between the false. So now what we do is just with the help of your liner brush or any round brush size number two, just keep adding these straight lines which will represent the water which is gushing down towards the base of this rocks. Now, when you are taking your whitewash, make sure that it is a smooth and creamy consistency leg so that you can get this straight, sharp lines that I'm creating that you can see you. Your brush should not get obstructed. There should not be to take, there should not be any resistance on the paper. You should be able to smoothly apply the squash and create these lines over here. So for that, check your gouache consistency before on a piece of paper before you begin now, painting your false. Now you would have noticed that when I entered the water, I did leave some gaps in between when I started adding those street street light lines. So do that, absorbed the steps, absorbed my brush movements that I'm doing yoga. And you will be able to get your results in a similar manner. Now, I am painting the water part, the water gushing down. That water's flowing out to the river or the leg that is nearby. So we had already applied a base coat of mint see greenish type color. So now I'm just lightly going over there and doing some dry brush strokes with the help of my brush to denote the water, the gushing and the foamy water now, in order to create some more form and depth into that falls. So witches gushing down towards the base of the rocks where it is hitting with river or the water body. So we are going in and adding some dry brush stroke patterns like this way. So I have angle difference artery that you are able to view it properly and then accordingly you can carry forward. Now again with some dry brush techniques, I will be covering up this brown places with seeming to brown in the painting. So I'll just go and gently do vertical strokes over there. And then that's it. We are done without painting. This is just to produce some textures on those rocky area. Now it's finally time to peel off our masking tape. Do it smoothly and formally or else you might just report fewer people along the painted areas. Just take your time, lead to people dry and then peel off the masking tape. I'm really very happy with how this painting has turned out. And I hope that you have enjoyed painting along with me. So until then, I'll meet you again tomorrow. 26. Day 9 : Color Palatte: Hello, Hello guys, welcome back to D9, and this is what we are going to create for our day nine, I can't believe. Now we are already on the ninth day of our gosh, monster class. So come on, let's get started and let's see what are the colors that we wouldn't be requiring to create this beautiful and colorful road through the autumn woods. So let's get started. For this project. I have particularly tools all bright and vibrant autumn shades, and that is why our project looks so colorful rate. So here are the colors that we would be requiring. And yes, Like always, we would be using white because white will play a very important element in mixing and matching and creating some new color mixes. Like you can see the lighter shades that I have obtained using this wide course. So these are our overall mean colors are the primary colors that he would be requiring. So I hope you have grabbed your paint and your arts of place. So let's jump into our project. 28. Day 10: Color Palatte: Hello guys, welcome to the last and final day of autumn landscape. Our attendees masterclass with guage. And today we are going to be into this beautiful bright sun flower, floral films. So come on, let's get started. So these are the colors that we are going to be using. So pretty much the basic right colors that we are going to use or dumb and sunflower goes hand in hand because of the color combinations that DID has rate. Yeah, that is what do we are going to create? Here is a recap of all the colors. So just grab your beams and your brushes and your people and get ready because we are going to end this glass on a very bright and happy Nord. I had actually get this project as May second or third project, but later on target to keep it for the last because it's such a braid and happy being dean, I loved it. So without any further ado, let's start painting.