Autumn Watercolor Landscapes : An Intermediate Level Loose watercolor Landscapes | Suhasini Badam | Skillshare

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Autumn Watercolor Landscapes : An Intermediate Level Loose watercolor Landscapes

teacher avatar Suhasini Badam, Watercolor 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

11 Lessons (1h 35m)
    • 1. Introduction To The Class

    • 2. Materials Required

    • 3. Color study

    • 4. Autumn Reflection Sketching

    • 5. Autumn Reflection First Layer

    • 6. Autumn Reflection Second Layer

    • 7. Autumn Reflection Final Touches

    • 8. Autumn Lone House Sketching

    • 9. Autumn Lone House First Layer

    • 10. Autumn Lone House Second Layer

    • 11. Final Thoughts

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About This Class

" Autumn Watercolor Landscapes "

Autumn is a gorgeous season where the leaves change to a golden color and the weather cools down a bit. The trees are already changing colors, and I've noticed that my landscape sketching has followed autumn's lead. Reds, golds, and warm greens have begun to take center stage in my paintings, you’ll find the process surprisingly easy and that it produces some great results!


In this class we will be painting 2 Amazing Autumn landscapes which are of intermediate level.That means if you know all the basics in watercolors like wet-on-wet, wet-on-dry then you can attempt this class and learn some amazing tips and techniques to make a beautiful painting .

All the Materials Required to paint the class projects are mentioned in the "MATERIALS REQUIRED SECTION". And there are 2 class Projects (means we will be painting 2 landscapes )


More details about the class projects are in the "CLASS PROJECTS " section below.

If you have any doubts regarding anything post in discussions section hereof Here is my Instagram link 


Meet Your Teacher

Teacher Profile Image

Suhasini Badam

Watercolor Artist


Hello, I'm Suhasini Badam, Watercolor Artist from India currently staying in California.

I did my bachelors in computer science but destiny has its own decision , Picked a brush inspired by some Instagram painting posts and from then it became my full time job .I started working with watercolors from 2018 and i paint  different subjects but Landscapes stole my soul .

Now I paint mostly landscapes as i am attracted towards Nature .Nature has my heart .

i do paint Florals and Acrylics sometimes . but majorly i concentrate on painting landscapes in watercolors. you can find all my works in my Instagram profile .


Here are some of my works 


See full profile

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1. Introduction To The Class: Bottom. Atom is gorgeous, isn't where the lip scenes to golden color and it cools down a bit. The tangent, the lesser deletes the Christmas in the a, I just loved this isn't and welcome in the fall season with some amazing paintings. And this isn't, is also a wonderful time to paint with the greens of someone giving away too vibrant oranges, browns, and many ocher hues. And in this class we will be painting two beautiful landscapes. And I have noticed that the landscapes getting has colored atoms lead. So rare it's goals and warm greens have we entered, take center stage in my paintings and he will find the process surprisingly easy and it produces some great results. So when you start up the class with some color, Australia may have lived to see all the colors that we'll be using for painting out to class projects. And next we'll do some sketching for the class projects that we'll be painting. And then we will paint these two beautiful landscapes where you can find some beautiful fonts, injuries, some tiny house in it. Both of them are similar in some way and both of them are different in some way. But you will learn something new and different in both these class projects and this glass VSCO intermediate artists. So I did not explain any techniques since the techniques that we'll be using our main limit on wet and wet on dry without wasting any time. Let's get into the class pass. We'll start with saying on the materials required and then with the cholesterol and then with the class projects. So let's get started. Guides. 2. Materials Required : So in this lesson we will check out all the materials that are required for completing today's class. So fast comes the paper always. So in this class I'm using arches. And I have taken 18 just into 10 inches, but I'll be using eight by eight inches. And I'm doing this to class projects misplayed format, which is a bade ingest. So make sure to use a 100 percent coordinate one to get a beautiful results. And 300 years and been do we told all the water and next to him the palette. So this is the palette I'm using for mixing my colors and coming to the paint. So these are the colors that I'm going to use this out from Art, Philosophy and White Nights. So these three are goulash colors. So I'll be using also gosh colors in a tiny bit of the class. And their meaning all TX out from Art, Philosophy and White Nights. And really missing which color shapes that we are using in the class. Please check out that class for more details about the colors. And next a border brushes. So these are the brushes and the freshman is Princeton Neptune three before it, flat garish. So this may be using covalent or battering surfaces. And these three are silver black velvet, size 86 and 12. And this one is a flat brush from Germany. You can also use any flat brush that you have. So these are the brushes, very minimal amount. And Penn State and arrays of a statin. And masking Dave to Moscow the edges as we are doing a bait square format and a spray bottle. So important to keep up paper wet while the paint and masking fluid. And, and I'm also using another shade from insulin Newton. So from this palette I'm using only this olive green shade. So this is the only shape that I'm using from this band and remaining everything I'm using from the tubes that have showed before. Yeah. This one is from inside a neutron. And you can also use any brand that you have. And we're not going to buy a boat and the excess water from your brushes and do jars of clean water for washing, herbaceous month of background washes. So these are the supplies required. So let's get started with the illustrating. 3. Color study: Welcome to the glass color sharing. So in this class really tickled all the colors and the column mixes that we'll be using for this class. And this class is very, very important. In any painting, a cholesteatoma is very, very important. So let's check out the color study, the colors that we're using today. So as I had shown before, like five to six shirts for finishing our class. So as this is the fall class for landscape class, we'll be seeing more of reds and yellows and greens. So the first shape that I am mixing is a mixture of permanent red and eliminate Lu do get this beautiful orangey red dawn. And this one is simply a locker. And then share that I'm using is this beautiful green tone from this one. This one is from Winsor and Newton because mining is olive green and olive green best paintings, great to get a darker tone of that green. And this one is sap green. And as I say it, I'm using olive green from Winsor and Newton brand because I don't have olive green in the White Nights or art philosophy that I'm using for the remaining part of the class. So I have chosen from Winsor and Newton, but you can use any brand of colors that you have at your home. And have added to have green and the lighter darker tone on this, adding some paintings play. And in order to get some moody color. And so I add it to their sap green and the orange tone that regard by mixing yellow ocher and permanent red. And the next one is a Persian blue. And I'm mixing through him Lou and Payne's gray to get RedHat codon of protein. So this Prussian blue we'll be using for painting skies and for painting and grown in the second class project. And the next shade that I am mixing is a neutral, neutral shade. So I'm mixing crimson and ultramarine blue and a Payne's gray to get this beautiful neutral tone, neutral gray. And this is one of my favorite colors too. Amy painting, any of the painting, this is my violet shade. And this will go into mixing crimson and ultramarine blue and a tiny bit of Payne's gray as Clemson and electromagnet and both come under warmer colors in order to neutralize that colored eye allele. Bit of Payne's gray. And the next color tone that we'll be mixing is brand number. And Prussian blue. So brown and blue mixes together to create a beautiful grade on. So here we are mixing Brandenburger and Prussian blue to get this beautiful grade on. And this is the beautiful gray, grayish blue tone. So this favoured by mixing brand number and Prussian blue. And I also added a tiny bit of Payne's gray to make it more darker. So these are all local assures that we'll be using mostly greens and oranges. So let's check out all the uses of all leaf shapes in the class projects. See you there. 4. Autumn Reflection Sketching: Sketching. Sketching is an important part of any watercolor painting. And the main benefit of sketching is that it provides you with a structure to work on the top of it. And this bit, a lot of experience can usually controlled watercolor well enough to paint with depression. But painting with precision is lot easier when you have a benzylic guideline to help you to paint top of it. You don't have to be constrained by the sketchy predict. It also helps you to envision where you want the painting to go. And it helps you to stay back on track while drain to reach that point. So in the flesh class project, we'll be painting a beautiful house with the reflection and the background of autumn colors. So we'll be sketching a tiny house and its reflection outlines so that we can go on and paint over it in the next class. And I have started the sketching by painting the update, by discussing the horizon line plus. So I have sketched the horizon line below the center line. And you also make sure to draw the horizon line above or below the center line. Because spitting horizon line and the center will not make a painting into string. But painting the horizon line above or below the makeup painting look interesting. So make sure you always do that when you do any other watercolor paintings also. And I'm sketching a tiny house. And he had, I'm using a regular pencil. And I'm sketching very lightly as you can see. Because I don't want to see some graphite lines in our finished painting. If you sketch using a darker HB pencil, then you'll find all those black graphite lines in your final painting. But I don't want them to take over my painting. So I have to sketching. I'm sketching using a lighter version of the graphite. And this also a small point to remember. Do not overload your painting with too many elements. Make sure you place adequate amount of elements on your sketch. And make sure you do that completely and nicely. If you add elements to your sketch, your painting will look overloaded and it will look confusing for the audience to look at. So here I'm adding some tiny bushes to the side of the house. So these tiny bushes will come to the foreground area. And I love painting some large bushes in the back, in the background of the house. So which will be in the background area. So I'll be adding more details to this ball grown foreground trees and the background trees, but you'd be off less dense. So this leaves a large background. Bushes will all be with less detail compared to the foreground trees. And I'm outlining the shapes of the background trees as we'll be using like two to three colors are the bag laundry is like orange and orangeish red and green. So in order to differentiate between vent to stop color and I'm drawing the outline shapes for the bushes to. And also I will attach the final sketch image in the project resources section so that you can keep that image and you can also sketch your finite, your class projects while you're doing the class projects. So that it will be easier for you to follow the sketch and sketch it your own one. And these are also the background, trees and the sky. So the reflection of the top part will be doing that in the bottom part. So I'm just copying the details on the top, to the bottom. And the bushes and the tree is recollection will also be there in the water. And I'm not getting any details for the reflection, but as the colors can merge into each other even reflection. So I'm not including any outlines. So that's it with the sketch. So let's get started with the first bite. 5. Autumn Reflection First Layer: So let's get started with the first part of the first-class project. So we'll be doing this class, watch it in three parts. So this is the first part among them. So in this part we'll be doing all the things, little bit bending all the things that are above the horizon line. So I'm chatting with the house. So for the house, I have mixed Prussian blue and a lot of water to get this lighter tone of Prussian blue. And I'm using my flat brush, size 12. So you can also use an E-flat pressure to have. Here I am adding some darker tone to create some dimension on to the roof. And adding dimensions and shadows is the very, very, very important part in any watercolor painting. If you want your watercolor painting to look interesting and professional, then make sure to add shadows and dimension to your painting. And in my beginning days of painting, I used to just paint looking at a picture and I'm just I'm just used to copy the picture and just paint or paint it on the paper. And I don't use to add any dimensions or gyros to my painting. And L listing, basing the professional artists painting that via my painting is not looking like days. So after many years of practice and many years of learning than I understand that creating dimension and shadow is very, very important in any painting, which will make our painting look very professional and very beautiful. So here I have which brand, umber and Payne's Gray to get this beautiful, great Dawn and also mixed a lot of water to get this lighter share. And and I'm letting these to dry so that I'm going over this area again in painting to get a darker tone compared to their side of the house. So that if we add some depth to your painting as if we paint the house uniformly the same color tone, then it belonged to create. So I'm adding some darker tone to the side of the house. And now I'm mixing a color shape for the bushes that are present in front of the house. So far that I have taken olive green from inside and Newton and Payne's gray to get a darker tone of the green. And here I am using silver black velvet size number 4 brush. And here I'm also adding some yellow ocher. I'm continually changing the colors so that will not get a solid shape. If we change colors, then we'll get some diamond tend to our object, anything that we are painting. And here I'm using a yellow ocher to pay in this foreground bushes. And I'm taking some Payne's gray and some windows on the roof, but to the scene with the same color tone, that is Payne's gray. And now I'm taking some Prussian blue and ultramarine and tiny amount of ultramarine to add the shadows for the house roof. I have just added to the top area of the roof this darker tone. And now let's paint decide trees. So for this, I am taking a brand Denver and yellow ocher. So before painting those bushes, reach out to the side of the house. We'll be doing we'll be painting the ground area and which is at the end of the house. So for that I'm taking brand amber or yellow ocher and Payne's gray and a tiny bit of cadmium orange. In here. I'm using silver black velvet size number eight brush. And previously I have used sizes, but for now it is eight. So this black velvet brushes are very, very useful in any painting. I use them a lot in my paintings if you follow my classes. And if you see a house is looking perfect. So if you paint the entire house with the same color tone, without any dimension that it will not look this beautiful, it will just look flat. But now we can see our house is looking perfect. Perfect, good, some dimension and some shadow to it. And now I'm starting to paint the side bushes, so which I'm using olive green and yellow ocher. And again, I have shifted to silver black velvet size number 4 brush. And I'm taking some Payne's create and adding to the bottom part of the tree reaches so that we can create some dimension by adding the shadow of the trees. And here I'm painting the next ambush. So in order to differentiate between This MOOC and the next bush that I'm going to paint a half editor darker tone to the edge of dirt. And again, I'm taking olive green and painting the remaining wash using that. So now you can see these two Bush's different separately but together. So by adding a shadow to the bush, we can make them look separate but together. And the next, I'm using yellow ocher and olive green with more yellow ocher. And I'm adding Payne's gray to the bottom band to create some shadow and depth. And next I'm mixing some orange tone for the beautiful autumn colors that I'm waiting for. So item is my favorite season of the year. Nature around as they turn magically before our eyes with these beautiful oranges and yellows and reds. So here I have mixed permanent dread and lemon yellow to get this orangey tone. And you can also experiment with your own oranges, reds and yellows that you can mix using the shares that are present that are present at your home? No, I'm taking some dark at dawn that mixing some Payne's gray into that to create some depth to this, again, which is very important. Now I'm taking a flat brush that have used to paint the roof of the house and again, taking the same orange and painting another push. English falling the outlines that have drawn before. And I'm bending using some simple strokes. And in order to differentiate between these two bushes, I'm using some darker tone towards the side of the bush. And remaining with this beautiful orange tone. And I'm also adding some darker tones to the bottom parts of the tree reaches to create some dimension and depth. Some simple restaurants using a flat brush. And for the next I'm mixing yellow ocher. And with the same flat brush. I'm doing this. And in order to create depth for this orange, hello country, I'm adding some orange. I'm carefully this painting, keeping in mind the edges of the house. Do not mix your paint into the house carefully as it gets towards these edges. And make sure you do distinguish in the house, but the house that we have painted, it's dried. Because if the house parties bet and the pain that by doing these wet the boat the boat collision actually blend into each other and will not see any definite outlines. For the next stone, I'm using, I'm using olive green. Olive green and Payne's gray. Payne's gray and a tiny bit of ultramarine to, to make this olive green neutralize and make it more darker. So if you see the olive green and sap green, they're very vibrant colors. So fall colors and autumn colors with the NORC look dark, much vibrant. So the vibrant colors will be in orange, will be in oranges and reds. The greens will be very dull and about to convert to orange and yellow. So the always done. So in order to achieve that, I have added Payne's gray and ultra marine blue to neutralize the color tone. And as you have seen, I have added some orange to the green bush. And if you see outside, there are trees with a lot of leaves in green color and some of the leads training to orange and some turning to read. So in order to mimic that, have done this in my painting. And I'm trying to add a darker tone towards this edge of the other tree and also towards the bottom. And in some places of the bush as you can see, to create some duct. And now I'm mixing occur and a tiny bit of lemon yellow. This bush. And I'm using the same flat brush and I'm also using orange. And at some places this to create some darker tone. And now I'm taking this into Blackwell small brush to paint these two bushes to the left of the house. And using that olive green and ultramarine blue mixture that we have used, a dog Bush. I'm using the same color to fill up these two small and bushes. And I'm using some ocher in between some Payne's gray mixture to make it darker to create some shadow and depth. And now I'm taking a blocker and lemon yellow to paint the bush here to the other side of the house. So this is the same collect on that have used to orient in between. I'm not using too many shirts for painting this fall color bushes. So in total have used like three shapes. The first one is permanent red and lemon yellow, and the second one is olive green and Payne's Gray. And the third one is yellow ocher and lemon yellow. So these three are the main changes that have used. And using too many differentiates can also make your painting look confusing and not appealing to the audience. So I have taken only three different tones and use them alternatively. And now coming to the term top bag and the bag alone, most case. So I'm doing that with olive green and Payne's gray. And here I'm using the same flag parish. As you can see. I'm blending some outlines towards a dog, but to make it look like this audition it is of the pine trees. So I'm using the same plant pressure as you can see, entitled bottom part. So this color, as I said, this is all green and Payne's Gray. And carefully paint around the edges of these bushes. And I don't want the edges I'm using and that codon. And if you are not sure of using a flat brush and not end up using a flat brush. You can use a drone bridge. Also. Flat brush makes it easier to go around the edges. Because with stroke it comfortably. And now I'm just taking some water and pre-game over the wet area that we have just painted. So it will create some beautiful water effect. And now I'm mixing color, tone but the sky. So for this guy, I'm using Prussian blue and a tiny amount of paint gray. So the sky area will be doing in wet on wet technique. So I'm wetting the surface using clean water. Carefully. Reading around these trees with the same brush. I'm just adding some strokes to the side and Tom shocks to the side. And I'm trying to add some crimson to make it some burgundy color. As no, the sky in the autumn, very big, gloomy, rather than bright and sunny. So I have used this approach in blue and paint gray mixture. So if the sun is bright and it, the sky is preference, and then we can use ultramarine blue. But this is not the case. So have used Prussian blue and paint gray. So with this, our first part, the vast class project is finished. So let's meet in the second part, which is the next lesson. See you there. 6. Autumn Reflection Second Layer: Hi guys. Welcome to the second part of the class project. So in this bag will paint a reflection of the top part that we have painted in the part one. So the reflection, as you can see, I'm wetting the surface. That means I'm using wet-on-wet technique. So I am choosing wet-on-wet technique over wet on dry for the reflection. Because in the reflection, if you see the colors and the things are blended into each other. And as it is an affliction, it will not be stable. It will be, they'll be some movement to the reflection. So in order to achieve all these things will be using wet on wet technique. So in my document, as you all know, there will be no definite outlines. So which is what? Perfectly suitable for reflection, painting reflection. So I have burnt the whole surface and I'm starting to paint the house first. As you can see when I first applied Prussian blue, it bleeding. That means we are played more water than required. So remember distinct, if you apply more water than required, then the paint will bleed like dark. So make an even layer of water and always keep a water spray board, David, you. So there is a lot of things that we need to paint in the reflection part. So by that time our paper might get dried. So if you keep a spray bottle by your side, if the paper gets dried, then you can always three but the required amount of space using this report date. And now I'm using the same colors that I have used to adopt, but to paint their reflection. Here I use random error and Prussian blue, sorry Brandon bubbles Payne's gray. This beautiful 13. As you can see, I just prayed water here. And I'm mixing some darker Prussian blue to imitate the shadows on the top bar. And here I am using a flat brush. As you can see, the same brushes that will be that we have used for the dog, but we'll be using them for the bottom, but to the reflection of the tree. So the color tones are seen here. I'm using olive green plus Payne's gray and alter dimension and the reflection, which is also very, very important. So reflection means whatever present in the top, left it to the bottom. So including dimension. So don't forget to add dimension and the shadow, but do so in order to apply, in order to pay these many things, your paper will get really good dried. So I'm using spray bottle again and again to make my paper to keep my paper wet. I'm using the brand number and this crown, but now I'm mixing paint gray to get it back at Ronak willing to pay in these reflections. And as you can see, the paper has dried here. If you notice a definite edges, that means the paper has dried. So I'll be applying water again. No need to pay into definite shapes in the reflection. And some darker tone towards the bottom. And the reflection of bushes here, as you can see, the same green tone. And now the reflection of the trees. I'm just using my flat brush and with these small strokes, as you can see. So this is the reason that I'm using my flat brush for this class project. It was easier. It is easier to paint the strokes like this. And in the middle, I'm trying to wet the paper again and again to keep the paper red. And as you can see, I'm imitating the colors that I have used in the top part. So which is permanent red and lemon yellow. Permanent red and lemon yellow. And this is only the first layer in the reflection. So we'll be doing a second layer or the top of this. Because as we using wet on wet technique, the colors may be lighter when it gets dried. So in order to make them darker, make them look data will be doing one more layer on the top of this when this gets dried. So generally, in any landscape, if you see reflection will be more brighter and darker compared to the DHAP or actual injury. And here I'm using lemonade, low-end mixture of orange and the same color to the side. And spraying water in between as you can see. So if you don't have a springboard David, you, then you can use a clean brush loaded with water to wet the paper time to time. Now, olive green plus payne's gray. If you see the collector looking at him brighter compared to the top. But when this part gets dried, it will be very, very lighter compared to the dog park. So there's a reason we'll be doing a second layer. So if you don't want to do a second layer, then you can mix very darker and brighter tones in device layer itself and paint darker tones and the Batch layer itself. And no occur. And olive green and Payne's gray mixture to the top of these. And I am leaving a tiny bit of space so that I can also paint the reflection of the sky. And Prussian blue and the reflection of the sky. Now, I'm using some darker green tune to do some changes as these are very light compared to the top part. So I needed some darker tone and painting loose. And here also I'm adding some darker tones, darker green tones. And I'm using lifting technique in order to create some ripples. So take a clean brush and this lift up some paint and lipid off to paper napkin and deplete the same. Some ripples like this and make sure you do this part before the paper is completely dry. So the paper should be a bit moist in order to do this step. So make sure you do this before it gets dried. So I'm mixing some Payne's gray and painting the reflection for the windows and the doors here. As you can see, the reflection is compared to the dark part. So animals appending the windows, Moodle in the air compared to that of the door. And I'm adding layers and the top part. So in order to do a second layer for the reflection part, the paper, it needs to get completely dry. So in the meantime, I'm painting on loads here, just one side and one to the side. And I'm using the insula black liberty is number four brush. And if you want to know and detailed tutorial of how to paint these birds, then you can check my other classes. So now we'll continue in the next part. 7. Autumn Reflection Final Touches: So let's start out with finite. But for the vice class project, as we have discussed, we are doing a second layer for the reflection bad. So the second layer also will be doing the wet on wet technique. So I'm reading the whole surface again. Here. I'm using Princeton Neptune flat brush. And if you see, I'm doing some stripes strokes using my brush. So if you do smarts, the paper alarm, then the Baines Here we have a mixed. So a play border carefully for the second layer. And I started, but the darker tones of olive green and Payne's Gray. And as you can observe now, the collapse of the drain after the paper gets dried. So there's a reason why I'm doing the second layer. And I am adding some darker tones again. And keep us pretty important layer you an empty, our clean water quickly, brush. And this guy, permanent drained and eliminate occur. And I'm also again using lifting technique or to create some ripples. So if you don't have a flat brush here also you can use a liner brush, line and pressure upside 0 in order to lift off. Just slipped up some paint with your brush and wipe it off to paper napkin. And again, repeat the same. And again do the step and the paper is still wet. So once the paper got dried, it will be difficult to lift paint off from it. You can lift off paint, but it will be a bit difficult compared to when we do when the paper is wet. Now I'm adding some dark codon to this ground so that we can differentiate between the reflection and original scenery. So that's why I'm adding, I'm adding some shadows to the house. And using Gaussian blue and need any bit of ultramarine. I'm writing, I'm making it darker, the shadow of the housetop and some windows. So that's it guys with all these highlights and with all these layers. And finally, for the next, hope you guys enjoyed painting this pledge class project. And let's get into our second class project, which is a simple one, which is a simple and beautiful for landscape. See you there. 8. Autumn Lone House Sketching: Before starting second class project, Let's sketch out the thing that we need to pay. As we have already discussed about the importance of sketching. Let's get into sketching. So before sketching, I'm dipping down the edges as you can see using my masking tape. And as usual and shutting off with the horizon line. So we choose stores the board and put this class project. And again a tiny home. And I would also attach the sketch, the finance get in the resources section so that you can download it and you can venus kitsch. So in the pipe. 9. Autumn Lone House First Layer: So let's get started with the painting. So first we'll be painting the house, and then we'll paint the background. So for the house, I'm mixing a neutrally don't using crimson and ultra marine and Payne's gray showing up in the house and using water, I am disciplining the entire house. But this tiny house to the same color tone. And for the roof, I be using a grid using Brandenburger and Prussian blue and tiny amount of Payne's gray. So as you can see here, we are using two grids made of two different combinations when we crimson, ultra magnetic, Payne's gray and burnt umber, Prussian blue and Payne's gray. And you can see clearly here both degrees, both the neutral tones are very, very beautiful. Each having its own beauty. And the smaller group 2, I'm using the same color. So this is the base layer and shadows and the damage in, and here I am erasing the borders using some British and I'm filling this but also with the same with electrons. So now we'll be mixing our greens. It is sap green. We'll be using sap green in this class project, sap green and ultramarine and Payne's gray. So as I said before, we'll be painting two big trees in the background. So mixing the color for them, studying them. So what are the tricolor is the sap green beans, green and yellow ocher into that. And the next color is yellow ocher. And the next one is permanent rate. It's some lemon yellow to get the dawn. So now color shapes that we'll be using are ready. So let's get started. So we'll be using wet on wet technique. And the trees here. I be using wet-on-wet technique. So I'm using my black British to my bits. And now I started with the yellow ocher. Exercise number 8. To the other side of the house too. I am using the same kind of tree. And I'm just swiping all the various dried. So I'm again using my flat brush and now onto the background trees. So by this I'm using permanent red and a lemon yellow. I'm using the same brush. Now I have my brush, too flat brush and this painting loosely. And this could be, also be done in two layers. So this is just a background layer. So there will be one more layer on the top of this, which will be in wet on dry. So don't worry much about this layer. And this is just to blend the colors where they should be. And now I'm using sap green plus payne's created. We are mixed to prayer and also the lemon yellow ocher. I'm mixing blade water. So here I am randomly applying blue sky. It is sap green and that means I have added more babies greater than. So this tree is also a technique. So the paint is bleeding into the house. So let's meet in the second layer, which is the dopamine. 10. Autumn Lone House Second Layer: So we have to wait for the first layer to dry in order to start the second layer. And now I'm charting the second layer and how sprayed water using my spray bottle to some area of these two trees, added dark spray water or wet the paper completely. I just sprayed someone to do sprays. So this truly be doing a combination of wet on wet on wet and wet on dry techniques and have time using a napkin, a small paper napkin in my hand. And here I'm using Princeton long round brush. So you can also use silver black velvet. Size numbers, mean size number 4 brush here. And as you can see, I'm just applying edges using wet on dry technique and smarting all the remaining ADS. And again, I'm using the same color tone that we, that we have used in the cached layer, which is a permanent red and lemon yellow. In order to make it look as if it is munchkins. Make sure to apply some depth using water, spreading the paint. And now I'm missing Prussian blue and Payne's gray to enter darker blue tone. In order to paint the shadows here for these trees. As the bottom part, there will be no light. The bottom part will be more darker and that the trees. So here I'm using Prussian blue and veins claiming ship. And now really do the same for the green tree. Has a house prayed daughter earlier. I just use it on dry techniques and using wet on wet and chaos on the top. Right. So am I not playing as we go down this way? So that it looks like, as if it is blended into the background using the same color. I painted this bush. And now the same good, This. So before that I'm painting leaves, bushes and blue and gains good to give some shadow. So the remaining brand and the brand to set meetings. So I stopped bending the rent is some dimension. So now coming to the bottom. So the bottom part will be doing. So I am applying ordering and at the bottom, but I'll be using a Prussian blue and Payne's gray mixture. So this is not the reflection. This is some land which is present. So I'm choosing some blue tone in order to contrast the colors that are present in the top part. So blue is complementary color for or in this indirect. So I am choosing blue for the bottom part. More darker tone towards the bottom will be by adding more Payne's gray. And also I'll be writing down all the color tones that we have used. But the glass in the description and the glass description in the class project description. So if you have any doubt regarding the colors, shapes that we are using, you can check. Project description section. In here I forgot to mention I integrate some masking fluid, some droplets of masking fluid in the bottom. But as you can see, those white gaps that the masking fluid that I have uploaded before. So I skip that. We DO, but so just add some drops of mask, include the AASHTO adding before starting. And now I'm sprinting some water, as you can see, it's printing some freshwater using my fingertips. So this step needs to be done when the paper is still wet. So now I've got dry. As you can see, it has dried very lighter. So I wanted to go above o and do one more layer for the bottom part. So I'm mixing my color tone priority, which is a Prussian blue and paint gray. And I'm applying some darker tone towards the bottom. So here I did not apply any water priorities. Is this wet on dry technique? I'm going to blame the start codon drawers the bottom, and I'm washing my brush now. And the mismatching that we have a plane using the in-order. And so using my fingertips. And now I'm using this silver black velvet size number 4 brush to paint the branches. So but the brand is amazing brand umber and Payne's gray. I'm starting with this tree and don't add too many branches. And will this look realistic? And I'm designing some branches to the bottom and some to the top. And the same with history to the bottom and smaller branches towards the top. Now I'm again using some permanent red to create some brands ambush here, again, using the same technique that I used to paint the aleatory. Just making sure that it's merges into the background by using a paper napkin. And I'm just wiping off the rough edges. As you can see. I'm making it look as if it is a part of the tree by smiting of the IGS. And I'm just trying to blend that into the background. Yes. I'm again mixing Gullah the branches. So I'm making this brand is a tiny ones here. And now painting bushes and the horizon. So we'd be doing that in wet on wet technique. So I'm applying water will lead to the path of the area where the bush would be there. So I just applied water. And so now I'm using Sandy and bends grow mixture to pain these darker bushes. As you always know, the foreground elements look more brighter and darker compared to the background ones. So in order to make it look as if these bushes are in the foreground and I'm using a darker tone. And after painting these bushes, you can easily notice that the two trees that are present are in the background and these tiny bushes are in the foreground. So this is the concept of depth in chart. So yes. Now I'm adding some white lines, quite tiny lines using white quash. So here I'm using white quash and I'm adding some tiny lines to make it look as if the president, the bushes. And I'm adding white gouache here to our stories. And I'm adding some line in our domain and differentiation between the top and the bottom area. And now I'm building up the masking tape that I must include that I have applied. So this is the step that I have missed. But you can add these tiny drops off masking fluid before starting. And I'm using white masking, white goulash here to paint these tiny lines, which would be the stems or whatever presented in the pushes, the grass. In this class, I have used Winsor and Newton, gosh. So you can use any Gloucester does present with you. If you don't have gotten your home, then you can use bolster colors. So postal colors almost do the same job as gosh. So if you don't have gosh, don't worry. You can always use watercolors which will be present in every house. I guess. I'm using the same way. So now I have taken these two, yellow and orange don't wash and just applying some droplets to the bottom part to make it look like as if some leaves are falling from the tree on the ground. So I haven't been disturbed. And now I'm adding some shadows to the house, which we left to do and no pivot gets dried. So now it's time to do the highlights for the house. So I have added this shallow for the hose. And I'm using the same tone that we have used before, which is Crimson Ultramarine, and Payne's gray. And using Payne's gray, that is in the stroke on it, the paint definite borders. So if you paint a definite border than your painting will look like painting. So always learned to loosely. And appending is almost finished. And some branches a2 times more. Darker trees or bushes kind of stuff. A reason. So this, but I am doing this to make more glitter between the top and the bottom part. And with the Payne's gray, I'm adding some tiny birds for DNA burst of course the horizon and larger ones towards the sky. You can learn painting these birds in order to collect the landscape that has explained clearly. And that's it. Days of bending is now finished. I hope you guys enjoyed both the glass projects. And if you have any doubts, please post in the comments below so that I can unzip all of your doubts and see you in the conclusion part. See you. 11. Final Thoughts : So days we finally finished the two class projects and thank you all for sticking the end and finishing these two glass projects. So in the first class project we have learned to paint this beautiful reflection seen. When we learned how to paint a reflection in the water and some wet on, dry bushes and some light on retries to. And in the second class project, we have learned to paint wet on dry and wet on wet combination trees and many more elements, many more smaller, smaller details. We have learned how to do all of them. And if you have any doubts, please post in the class project section. And here I'm attaching some of the images for your reference so that you can practice some other landscapes also applying all the techniques that we have learned in the class. And don't forget to use 100 percent cotton paper and all the images I attached in the resources section. So thank you guys. And if you have any doubts, please message me my Instagram. My Instagram Id is R by choice. See you with another class.