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teacher avatar Umashree Taparia, ART EDUCATOR

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

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

Lessons in This Class

12 Lessons (1h 33m)

    • 2. MATERIALS










    • 12. THANK YOU

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About This Class

Hello Everyone,

I am back with another class on Gouache. After reading all your reviews on my previous class I realised many of you have been a complete beginner in Gouache . So I thought of creating a class that would give you the basic insights of this medium  to begin your journey with this medium.

I have covered the very basics  in this class and a class for a complete Beginner. 

I hope you will Love this class and this will be helpful for you to get all the insights into this medium.

So get started and explore this medium with all your hearts.

Also the giveaway for this class will be up tomorrow.

So keep an eye to not miss the amazing Goodies awaiting you.

Thank you for all the love on my previous class too.

Love Love,

Meet Your Teacher

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Umashree Taparia



Hey Lovely People,


I am Umashree Taparia, a Self Thought Artist, Art Educator and a Creator from India. I am a Chartered Accountant by Profession and an Artist By Heart. I have always been creative since Childhood but it was majorly crafts, card making. With all the Study and busy work Schedule I never had time to practice or think Art. But in 2020, when the Lockdown hit, I started with pencil sketching and gradually began to learn about Watercolors. It was then, that art became my daily Practice. 

In this one year I explored different Mediums and my favorite happens to be Gouache and Watercolor. Through all the trial and error I have learnt so much in detail about all the art supplies that are available. I believe that if I can do it then anyone can lea... See full profile

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Fine Art Creative

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1. INTRODUCTION: Hello everyone and welcome back to my next can check class. I'm an art educator and an artist. My Instagram handle is creating from the heart. After reading all the reviews for my previous class on the gosh sunset, I realized many of you are new to this medium and want more insights into this medium. So I taught of preparing or beginner friendly class on quash, wherein I can teach you the basic properties of course, that helps me to explore this medium and grow with this medium. So in this class we'll be learning more about cosh, about the brushes, the people, and the basic techniques that has a big no-no would help you to know more about this medium. After learning all the basic techniques and knowing more about cosh, we'll be painting these two easy landscapes together. Class Projects, very easy so that it's easier for you as a big no, to learn more about cosh and become friendly with this medium to print much detail paintings later. 2. MATERIALS: Before moving to a final Medea list, let's understand the different papers that can be used for Bosch. The best digital you would be either or mixed media paper on a hot press paper, because this has smooth texture, so forth, you should use any people which has a smooth extra. Alternatively, you can even use a cold press paper which has a smooth surface, as I will be using in my class projects for though do not use a rough green paper off as for wash, do not use rough green paper for gosh, because it will make the moving of the colors difficult and it will be difficult for you to blend on a rough surface because quash being obese and take, it requires a smooth surface to flu. As far as brushes are concerned, I would recommend using synthetic brushes because it's easier to blend with synthetic brushes. And also synthetic brushes work best synthetic or the tagline brushes works best for gouache. Gouache colors are available either in two formats like this, okay? Or in model formats like this. I have both. But for this class I will be using my top squash cameras. Let me first walk you through the materials that will be requiring for this class and the class projects. Firstly, I'll be using my Canson one to 300 GSM watercolor paper. I will be this is a 5, says I will be using it in A6 sized our dense I will split one paper of E5 into two equal parts. For the beans squash, there are pins available in two forms and formats I will be using for this class, might quiet. For this class, I will be using finding Eva valid masterclass. Wash said, this is a set of 16 colors. As far as the brushes are concerned, you will require some flat brushes, some round brushes, and some detail brushes. You will need two jars of clean water or masking tape for clean edges. And the draft clot to damped brush GI for blending. 3. BASICS OF GOUACHE: So we'll begin with understanding cosh, and we'll begin with or, you know, comparing it with quash and water Congress and to see the difference and understand how cosh is different from watercolors. So we'll begin on certain properties that you need to know as a big now about crash. I have written under Properties here. So we'll begin with the first one. That is the opaqueness of this medium. So I have some gross sure, since my crosshairs in water form, I'm picking up directly from the bottle fatal. So as far as cautious concern while applying wash, we need not give any basely on wash off folder as we need to give in case of watercolor. So I did a trip, picked up some paint, and I just had little water onto my brush and I directly applied the beam. Similarly, what I will do is I'll pick up or similar shade in watercolor you. And to apply it and we'll see the opaqueness of this medium as well. I am using or mixed media sheet to demonstrate this to you because this sheet is also table for what? Watercolor, as well as squash. So for watercolor, as I said, we need to apply our base layer, generally of water, that is the marsh. And now I'll pick up the paint and applying the paint. So can you see it's almost a similar shape, but the difference in the opaqueness your eye can see the base of the people. Whereas your, the color is so big that I cannot see the whiteness of the sheet. Also in one layer, I have got this opaque nature. So if I would ever played on other cool, It would have done more upbeat. Whereas in watercolors, if I apply another court, even then it will not be this whole big as quash is. So your I applied another curve, but still it is not as opaque as quash. Next one will be blending. So blending in Guassian bending in watercolor is again different because in watercolor, we generally have a base layer of water again, whenever we wish to blend to Congress. And in wash, we generally use right color for blending or, or damp brush to blend the two sheets. So we'll first begin with blending and wash. So what I'll do is I'll again pick up this bubble sheet and we'll blend yellow and purple together. Now I'm applying this purple shade. Will pick up some yellow now. And I'll apply some yellow your underwater. Now, I want to blend these two colors such that it looks seamlessly blend with each other. So what I will do is I will pick up some white quash and I will apply it. You're in the area where we lifted. Blind, maybe left the sheet blank. I'll apply this white quash. Now, I'll use a damp brush. That is, I have cleaned my brush, removing excess water. So hardly 30 percent of the water remains. And starting from bottom or from top, whichever is suitable for you, depending on how you want to work on those two flow, you blend it. So like this. Now, still, this is not that smoothly blend, so I'm running it all over again. And now this looks perfectly blend. So you see from the pop-up to the yellow, we got a smooth transition using the white color, so a lighter shade as formed urine the center while blending and the little bit of white moves to either of two colors, making it more. Sudan. Sudan. This is one. Now I'll bend and show you the other way also. That is, I am picking up again some purple color. And we'll pick up your login for the base. So I added white in this one to blend. And it goes to blending, makes it really easy. But the Adobe, what you can do is use a damp brush. Move from whichever direction you want that as bottom to top or top to bottom. And like this with the help of a damn brush containing limited water, you can level up to Congress. So there are two ways. Now, if you need. So blending from top to bottom or bottom to top depends on which shade you want over which. Now, since I blended from the top to bottom, the populace covering up over the yellow. If you needed a yellow, what the propylene, we should begin from the bottom. So I picked up your login and I'm moving backwards. Now if you see the yellow is over the purple. So that way you can create a blend again. Now, we'll look at the blending and watercolors. For watercolors, again, we need to apply a wash, a wash off clean water first. So I have applied a wash of clean water. Now, I'll pick up some politician. I'm just using the colors that were already onto my palette because this is just to demonstrate the difference to you guys. Okay? I picked up Open and now I will blend it with some orange tones. So I have a bright orange and merging it yourself, I take the orange on Rudolph opal a bit. So this is how we blend in watercolors. That is, while applying the colors only, move our brush tool where we want Dublin variables in wash, we apply boat dock anos, then either use a damp brush or a white quash for blending. There would be many other ways of blending, but these are the two easiest ways that I have learned through my journey. And that's what I'm sharing. The easiest techniques for beginners to begin with quash. Now the next thing we would be learning about is the layering technique. As far as watercolors is concerned, we cannot leave lighter shades or dark contours. So what I mean by that is, we will begin with the watercolor, your force. I'm applying a direct quote of calories because it's a small areas, so I need not have a washer. One is this, and on the other one, your will apply a lighter color first. Now to understand the leering difference in gouache and watercolor, what we will be doing is onto this violet will be lowering with orange and onto orange we'll be doing the listening with violet. As far as leading in galoshes concern, you can forced either lay down the lighter color, other darker color. It will not make any difference because since this is opaque medium, even the lighter color will have its shine if laid on the Docker tool. So we'll do that study similarly your so again, I will apply two layers here. That is one of a bubble sheet and one-offs, reddish tone. We're getting to the watercolors to dry. So that is the reason until then I'll base these pin, these laws of cosh also. Okay? So I've just applied to basically us know, we'll see layering on these the difference What's with watercolors and with quash. This has dried to now and pick up orange in watercolor. And I'll try loading onto this poeple your life. You see this orange is losing its transparency because this is being applied on to a darker layer. And it's stoning a little darker because of the business. After this trace, this will don't move the bill. And now with tappable dawn on Buddha, orange shade or tone onto the orange here. So the reason this is still a little orange visible because they're big Dr. Orange pinned in a very good consistency. So say if I pick it up in a very loose consistency, okay? And then apply it here. Can you see the learning is not possible with orange. Okay? So that's the reason for supply that particular row to show you that if you want you, some sheets will walk this way. If you pick it up in a very thick consistency in watercolors. But if you pick up in a normal consistency and apply it, see the lighter shades to not work on the darker shades, but the darker shade. Nobody knows consistency will still work on a lighter shade. So that's the difference. Now, as far as quotients. Let's begin with. Okay, so gouache is opaque so we have to pick it up in the Arctic consistency only. Otherwise it will act as watercolor. If you can move this. If you can see this red color is still clearly visible even on to the purple background. So this means that in cosh, you can use a lighter color on the darker color and also your a darker color onto the lighter one. Stylopod, the colors will be equally visible and prominent because gouache is an opaque medium. So I can use the darker tone onto, onto the lighter one. And the mean, the darker Boone will still be visible on the lighter one because gouache is an opaque medium. So you're, as you saw, I painted the darker color on do this lighter tone background that we had. And still it is opaque and it's visible. So both the shades your are visible on both backgrounds. That ends your, it loses its opaqueness if the light color is being did on the dark one. So this is the difference in layering here. Correcting errors in guage is quite easier as far as compared to what the condos. Because, gosh, again, is a forgiving medium or a credit is the most forgiving me here. And after that, wash is the most forgiving medium. So see, I applied this year, but I need to apply some other Calhoun's, so we'll wait for this to dry and then paint another color over it. Whereas watercolors is concerned. If I paint something and if I wanted some other color in center part, and I mistakenly forgot about it. So I can hardly just try to lift up a little bit with the help of a damp brush. But I even not be able to collect much as far as watercolors is concern. Okay? And even for watercolor, paper that you're using will also make a big difference for such corrections. Now, as far as correcting error in galoshes concern, say I needed or red color here, I can just pick up a thick consistency of it and apply it. You can you see can you even see the purple color that I had applied before noon? So that's the best quality of brush that it's such a forgiving medium that it is so easy to cover up your errors with whichever color, lighter tone order darker tone. So these are the basic difference between gouache and watercolor that you need to understand as a big no-no. How does the paper required your is concerned? As we discussed earlier, I'll just mention your for this we require either a hot pressed or a cold pressed. And for watercolors, we require cold pressed or rough, clean. Hot pressed is generally not preferred for watercolor because it does not have a good texture for the condoms to flow. And this can be 200 GSM and above. As far as watercolors, minimum 250 GSM, 100 percent cotton is what I would prefer on base. And if you are a beginner and if you do not want to, you know, keep separate papers for work, best that you could go for is mixed media people, which is suitable for both watercolors and wash. So you can keep one stack of paper which is usable for both. And in this you can go for 250 GSM, which will work best for boot. So that's about the basic quash techniques and you're not that difference comparing it to quash and watercolor. In the next section, we'll learn more about quash and its properties. So I hope you all, I hope you guys could understand about this medium. And, you know, if you do not have gross, you can always go with both took honors. The major difference between Guassian post-hoc analyses that Galatia is more chalky, various posts Apollos or not that chunky. So, you know, some of them even call guage as premium postdoc on those because that's the only difference or major difference out there. Okay, so see you in the next lesson where we'll be learning more about quash in detail. 4. TECHNIQUES: The class projects that we'll be doing a head will be focusing more on painting simple, easy landscapes because this is a beginner friendly guage. So I've kept a class projects very easy for you to understand until you of and for you to get fluent with this medium. So the first technique which you can follow is painting, leaving white gaps. So in that mean, in this technique, what we do is though, you know, the pencil sketch that you have mock see I have to paint these clouds are white, so I'll be leaving these areas white gaps only. And later on we'll be painting it with white pink. So let's begin with that. I'll pick up some blue color and paint the rest part of the sky. I am not worrying too much about blending here because you are, I want to teach you that Pinckney as to how you can walk with leaving wide gap. So this is just a rough sketch and a rough study. Okay, So do not worry much about this. So this is what I meant by leaving white caps. So I left these white gaps for the clouds. Before moving to this technique of color blocking will move to this video that is painting details or whether layer without leaving the white gap. So this is just the opposite of this technique. So in this, what are we going to do? I mount these clouds just so that in mind we have there, we were willing to please that nodes, okay? And in this one, I'll paint the entire sky blue without leaving those white gaps for the clouds. In both cases, we'll be painting the clouds with white color again over it. And you're directly onto the white gap. So I am picking up some white quash. And now this white gap that I had left, I am moving my brush. A little bit of the blue color that is surrounding this area is getting merged into this white cloud, giving it the perfect loop, because the clouds would not be completely white or blue tone of it has to be there in it. And we'll ourselves, we picking up a little bit of blue and dropping it randomly onto the clouds to give it more natural. So that is how by leaving white gaps, we painted the clouds. We will pin this area with brown your and the bottom media with green. Now, since this is not derived from P3, will move to this technique. The color blocking technique is that you squash as water Canvas. So that is, we add little excess of water and use it in a very loose consistency to paint the base layer and block the columns. So your can you see it is, Oh, it's not opaque. Rather it's transparent like watercolors. Okay. So I'm just blocking this area. So that means this area will be filled with blue later on width, although an uptake consistency in different tones, maybe. Similarly for brown, I will use it and not lose consistency. And I'll just lock this. So color blocking is helpful. Menu have too many details to put in with different colors or different tonal values of fun color. So you block the colors like this as soon now, in the grass area, I'm just painting the light green color and putting this color blocking. You pick up white quash, thick consistency and you lay the color very loose. Loose hand. Okay. Do not put too much pressure your otherwise. Although color in the background we'll get too much activated again. And it will, white-collar will also turn into new completely. We put the mountains color blocking method that we follow for that. Now, if you see this is not acting as quash columns, okay? This is acting style as watercolors. So what we do is we pick up the colors, whichever we need. And now we pinned the actual layers with the colors as we needed. So say your, I had marked blue because I'll be adding blue and different. Don't owe some part of it. You're not a Palo blocking of the light color. I can leave to give those variations to my Skype. The best way now to understand this color blocking use is through this grass field. So I blocked this IDO green completely. And now with different shades of green and yellow, I'll be painting some details onto them. So when I paint those details, all, you know, the areas that will be left will automatically have this light green knocking color. And this is how it will add different variations to your painting or with the help of color blinking. And you see how color blocking help. The base area was already green. And now picking up the yellow data is data onto my palate. Now, some there I'll just draw this yellow region. This is a greenish yellow color. So can you see now my grass has three different colors. That's a base layer that's stuck color blocking. And you add details with different layers. Okay? The only thing left to do is painting these white clouds onto this one. So we had blocked it with a very light color. So when we paint, while the blue color will get activated a little bit, but that would be sufficient enough to give the radiation to our Clouds. Okay. And these ideas we had intentionally left light blue to give that TO different tonal value to us guys. So that's how we did the color blocking. Now let's loan to paint clouds in two different ways. 0, which will be very helpful as a beginner. So I am picking up some light blue color. So I have mixed my new with white, That's my ultramarine blue with white and made it a sky blue type of color. I'm filling this end dial area that I have sky with this shared. And I'll wait for this to dry. Whereas in this part, what I will do is I will paint just a little bit mocking or cloud-like structure. And leaving that cloud-like structure wide. I'll paint the rest of the sky blue. I will be mixing white. Dawn of poeple and making a pistol pink tone. And with a very gentle hand, I'll be dropping pins to form. So make structures randomly and get 0. Remember while painting clouds, keep your hand orange, the base layer gets activated. And the effect is not be that simple. And just dropping beans randomly urine there. And see I'll use some of base 10 shade of red, although so I'm mixing white with red on my palate. I'll pick up a bit of fight first. And using the blue that we used as the BSW. Okay, I am going to blend this into the sky. So just running my blue color underneath and around this to blend it with the bank dome. Now to pin the fluffy clouds, I've picked up white goulash and moving my brush in circular motion. I'm painting across this area that I left white intentionally for my fluffy clouds. Okay. And then I'll pick up along the blue again little bit onto my brush down both decks as well. And again, move that blue also in circular motion. Can you see the fluffy cloud with the blue radiation and also below motions. So after this dries, it will still have the circular motion. 5. CLASS PROJECT 1 PENCIL SKETCH: After looking at the basic techniques, Let's begin with our first class project. We'll first begin with taping down your paper with the help of a masking tape. I'm using and half centimeter masking tape you can use whichever is available with you. Okay. We'll begin with taping it down at one side. If you do not want clean edges, then you can skip this step and use your sheet without masking. But the masking or the paper helps in painting and also makes it easy to move the painting. After masking on one side, always mask on the opposite side of value mass, the first side, so that you do not have any gaps left in between. And now master remaining two sides. And then let's begin with our pencil sketch after this. Always remember to run your fingers at the edges of the masking tape so that there is no free space left by. And the colors don't flow into those clean edges that we want. As I said in the material section, this is an E6 size. People will be painting these mini landscapes with quash. Let's begin with our pencil sketch that will be needing for this spindle. I'll show you the reference picture that we are using two. So this is what we are going to paint today. Okay. So I'll just mark the outlines. That is the mountains, the Greenfield, and the foreground. And then we'll begin painting. So we'll first mask our horizon line. This is a horizon line that is everything about your would be the mountains and the sky. And the Greenfield and the foreground will be below this. Then we begin with marking our mountains. We'll be having around two to three inches of mountain. Okay. We need a very light pencil sketch. Do not make the pencil sketch too dark because it may be. And we'll mark or foreground mountain, you're mountains can be of any shape as you prefer. They do not, they need not be of the same shape and size as I am having. Also, if you wish, you can bring this in an A5 size. If you do not wish to be ended the small. But to make it big enough, friendly and easier to paint, I am painting it on A6 size papers. And this is going to be on gene field area your, and this is going to be our foreground, but there will be having two tiny huts, Hjorth. So I'm just roughly marking the huts because even your there'll be greenery that we'll be adding in front of the heart. Also, for this class project. I'll show you how to paint, leaving white gaps for the corner. So we'll mark the clouds, also a bit rough cloud-like structures so that we leave that gap and not covered blue. Okay. To these two are going to be my major clouds and your small cloud. And another one You're, so what we're going to do is, as we learned in the technique section, will pin this area blue, leaving these white gaps. And then we'll paint the clouds will paint a mountain. You're with a lighter tone and a darker tone. You're so for this we will not be covering up your with the lighter tone. That technique your via using is being thin, leaving the white gaps. So get your pencil sketch ready. And I'll see you in the next section where we begin to pin the mountains and the sky first. 6. CLASS PROJECT 1 PAINTING THE BASE LAYER: We'll begin the painting, our sky foremost. For that, I'll be using the Ultramarine Blue Shield and white to give different tonal values. You can use any other blue that you have that this cobalt blue and Prussian blue mixed with white for pollution low, you'll have to mix a little bit more afraid. Or any other blue shade that you have that this guy blue, light blue or dark blue if you are not using washed and even in post-doc a loss but generally shade of blue you have, you can go ahead. So I'll begin with taking down the colors onto my palate. So we'll be doing the leaving the white gaps or type of technique to pin this. So we'll be painting blue, leaving these white gaps of the cloud which we'll be painting liter. So I'm beginning to pick up some blue in the darker shade first. I'll apply it at the top, but remember to not add too much water since we want that opaque look for the painting. If we use too much water, it will give us the look of watercolors. So after marking some bugs, now, I'll take up a light to share. So I'll mix up white with my ultramarine blue. I have just mapped the light blue below the dark blue and I'm leaving the white gaps. If you can see your I'm leaving those Clang part. And as I go down, I'll make this guy more lighter. And then we'll blend the three together. Hi, I'm adding turning it into a light bluish color and applying it to the remaining part of the sky. I am just using o a little wet brush. And I'll run from top to the bottom, blending all the three shades of blue together to get that effect. London, the sky. So that's our sky. At this part, I feel your heart, you should put up a little bit like Russia. So I'm just dropping in a little bit of the lighter doula and blending it. You're again. So that's our sky. Now to leave it for a sky to dry, we'll do the color blocking for this green area. So I am picking up a shade of light green. You can pick up any green, but oh, please pick up in a lighter tone because we'll be adding the dark covariation onto it to give those details of the glasses. So I'm using a light green sheet. If you do not have light green, you can mix in a little bit of yellow to it to get a light green Share. Okay, now I'm just giving this color blocking doo-doo, green field that will be having, even if you've covered this HA, will be painting it with brown the top, but I'm leaving that white space since we're doing it with this technique. Always remember, if you want to give any details, we need to wait for the base layer to dry. Otherwise, this is again, a water-based medium for a fee, Do not wait for this layer to dry. The colors will get reactivated again. I have discussed all these basics, but still I'm repeating it again so that you do not miss on do it. Also, for this clouds, we need to wait for these blue too dry or runs again, you know, the blue will start modelling and your, and we will not get that clear, cloud-like finish and will mark this base yellow. So I am picking up some lemon yellow. You can pick up a lemon yellow or light yellow shade. A lightest shade of yellow you have, do not pick up yellow ocher. Because of yellow ocher will not give that bright finish as beneath. And also to add details, we'll be using a bit of brown job. So you know that right other yellow though better ability of the loop to European day leaving the house. And this green spot, we could actually been the green spot. But again, leaving learning though, leaving white cap technique, That's the reason I'm not painting that green area presently. Now. Just marking the yellow color onto the ground. I have marked the Y'know. But for this yellow backdrop, what I'm going to prove this, I am going to mark didn't read vowel area and blended deletes wet so that the blending becomes easier. So I have picked up my burnt sienna and just applying some lines on both sides to give that radiation with a field. And now I'm going to blend this. So I have dried my brush again and just blending it to the background with a dry brush. This gentle with it. So can you see we are getting a feeling like goes structure under the Build Your good. Remember to have a clean brush and a dry brush to do this. If there'll be water, the painter begin to spread and they will not give that finished look. My brush has some little bit drawn time given some details as a dry brush technique. Although I'll just pick up of fuel lines of green to add as the detail. So just marking some tiny lines first, this amount and this blended. So just with an almost dry brush that is remaining 30 percent of the world Andre brush. This marking, these will be adding details once these dry, but we've just done a basic color blocking. Now, let's spin the Cloud sensor mounted our sins. Our sky has dried. So for the clouds, pick up, wipe cover. Your right. Do not make it any color. And yourself. Just by moving your brush in a circular motion, multi-cloud media. So I had shown this to you in the technique section. Okay, So if you want to practice, you can force practice looking at it in the technique section, and then paint onto your final composition so that you do not spoil it. So I have mapped my cloud. I am running it the Obrador blue to blend it and give the blue effects onto the sky. Or you could alternatively do is pick up a little light blue shade and give it those variations by again running it. So below motions. Today, I mock my first clone. Similarly I'll do for the other clouds. That is, they're just moving your brush in circular motions like this. In the cloud leg structure of the pencil, the pencil sketch that you had given? Even if it goes a little outside that Not at all. No one picking up some light blue. These two clouds of mine have accidently looking watched. So what I'll do, I'll pick up a little bit tougher buckle blue. And I'll just drop a tool and blending to see it is blended it and giving that little gap between the two plot. Now Belbin these two clouds onto the meaning. White and then adding a little bit of tough new variation. Once the clothes dry completely mil again, give it a little bit. White lining, a double dose to give that Tom. White shiny. If you want, what you could do is pick up some blue and just divert urine smell and give that cloud feelings your backs up our buffer clouds now we'll been the mountain for the mountain will be using this same shade of ultramarine blue, but we'll mix it with a little bit of brown and black to make it little darker. So what I'm doing is I'm picking up some ground shading and some black shoes. Ok, and now I'll blend it with the blue. So this is a grayish blue, kind of a dawn. Now, I feel that it is a little darker. So I'll add in a bit of blue again, because this dark shade will be the foreground mountain. Okay, so for the background mountains, I need a little lighter shade of this. So just picked up some blue and adding this mixture, I'm getting a light bulb. Boom. You can add in a little bit of violet if it still remains Daf, two strands, I did. And now we're being these background. Mom didn't remember to give that irregular shape to the mountain so that they look natural. This tiny mountain Your, we'll be painting it in a more lighter shade. After this mountain Zhai, He's been at the dry brush strokes on through to these mountains to give depth to amount. So we've marked on Bactrim mountain and do this same shade. I'll be adding a little bit modified, making it a little more light does for the tiny mountain in the background. So here's the sheet and finding a tumor. Okay, Montreal. And now with this dark shade that we have, I'll be in the foreground mind. You, the foreground mountain will be adding some details with the shade only. An inch. If marked on Moodle will pick up or detailer brush installing size. I'm using SHE from Silver Brush, silver black velvet brush cities around the size do I since my brush has a pointed tip, so size to work for me. If your wireless eyes versus does not have appointed death of pick up a detailed brush and hold on to this mountain range will be giving little tree-like structures. So just don't some small, some ball structures like this. Once these dry, this will give depth to our beam thing. And also since this is either foreground mountain, so this is the newer rest was so this will look a bit D1. That's a reason some dollars on Giordano not add Orland seems eyes and just small lines which will look like trees. So the mountain is still found in blood. This is the mountain nearest two of you. So that's the reason we're adding these details here. Now, we wait for all this to dry. And then we'll add the details to the spin thing. 7. CLASS PROJECT 1 ADDING DETAILS: We'll begin with adding the details onto a null. So I'm picking up a dark green sheet. If you do not have dark green, you can mix fight. Also. You can mix brown to our light green color and a little bit of black to get the dark green shade desire. And we'll add some grass details on Buddha's feel. Okay, so just marking some tiny videos and some larger bloods, put crosslink structures like this. So now I'm using the paint in a very thick consistency because we are adding the details and we need the opaque look on a final been doing. Okay, so remember to use less affordable and more of the beam then tick consistency. I'm picking up my detailed brush and don't give the details. Just marking some small dining plans is like this on the top of Docker fields that we marked. Okay. Now we'll give some tiny details of grass onto the field at more places like this. If you can see, I'm just dabbing my brush in of freedom movements and giving some details and depth to the fear on to deceive. Yeah. Just giving some last details and some details, not alter some details on the full run, the full graph on solving the impact on your yarn. Remember to give smaller details in the glass. I'm just marking a small patch. So doublet adding some details onto the grass, I'm mixing some white to my green to make a very light tone of green. And with this green and add some details, you're on this dark patch that we mean to just giving some crosslink structures. You're again by just dabbing your. So all this will add depth to your painting. We are making this painting very simple because this is a beginner friendly class. So I want you to begin with learning the BC. You can see what we did is now we are building with a lighter tone on a darker Boone. And it is so much easier to do that with goulash hadn't been watercolors, we wouldn't have been able to do this. That is being done with our darker tone, a lighter tone on a dark tone. So this is why this medium is, you know, very, very own, user-friendly, and it also makes easier to paint with this medium. Now we'll pick up some white, add details to our Cloud-first again. So white. And I'll take it not the consistency without adding any water and running over to the edges. First, I'll just round it to the edges and then I'll blend it. You remember your ad given a gap between them by adding the blue. So again, letting that gap be there and marking in the edges with blue. For this cloud, I'll just mark the lower part with white and lead though. Oh, and let the autopod be inlet blue shade that we have. I have washed my brush, dam did clean and just clicking up, dish water, cuvette and leaving it below this to get that blend. Now about clouds are looking more precised and more detail. 8. CLASS PROJECT 1 FINAL PAINTING: Let's begin with adding details to the foreground. But you're, so I'm again picking up or turn off light green first. And color blocking this greenfield Your with a lighter tone of green. Now, all real motto hubs with the brown color. I'm using buoyancy and occupant obese, you can use any lighter shade of brown. And if you do not have a lighter shade of brown, you could mix bitten off yellow on width or dark brown share. And I am forced carnal blocking this and then we loved the details of the house leader with our darker Boone. So that is the reason for the base layer your I'm using a lighter tone to add the details with darker down. Similarly, this house, you're the top. I'll be painting with prone. And though fact on part, I'll be painting it with a very lighter tone. I'll be painting it with almost a piece to shade of a skin tone. So I've mixed me burnt sienna with white. And now painting this part here, That's 100 is there. Now, while all of the strays in all of these trays will pick up bones here. Now, we TO detailer brush. Okay, so by Gabi the Resize row or size double 0, or if any brush that has a very pointed tip. And we'll add some grass like structures, you're randomly. So just add some. You do not need to add it continuously. So you can leave gaps in between nonpolar this area, I'll be adding some. I'll pick up a little bit of green and your where we can see. And I guess grass like to expand, giving it a little bit of time because the gas is going down. I have applied the color. I have dumped my brush and just blending it window. Due to this green area, we turned down three and add details. I'll just dab my brush a bit. My brush had a lot of photos. So remember, while adding the details, your brush should be dampened dry. Now to remove this excess water, water, do this, you can either take a tissue off of clot and just pick up toward the this. So now I've been there and just leaving some gaps off the light green color. I am giving the deals with the dark green sheet, just dabbing to give Grass Lake and leaves like structure. Now we'll add the details to our hot picking up like and mixing it with dark brown dark is onto my palette. Alternatively, you can directly use a darker shade of brown. But since I had bone to my palette to use that same color, I have mixing a bit of ground and get a darker tone of brown. And now do this hard to you. You can give it in the deals for his remarks on borders. These fine lines usually denote brush or a brush that has a pointed tip to give these medians. Similarly to this heart, you remember when I didn't these details, no color should not be too mad. A new document, Waldo. And it will not stay or big. To put this hub. I have just given some random shadings, urine, not dog photos, convenient lines like the top one and just blaming when combined comedy bit. And that's it for about a month. Now, this looks unfinished tool for we'll be adding a little bit of green classes. You all the bottom buttons to hose in this. And some don't know persons who made this. Also to make it look, produce this green line that we have. There will be adding some dark green Boolean values. Random knee, just some structural and some small patches. Hi and just pick up a little bit of yellow mixed with a little bit of green to get a darker tone than the piece yellow. And I'll just give some splatters. Remember to either cover the spot or control the splashes with your hands, only moving on to the green area. And on Udot, yellow field. Just a little bit of this to add some details. Alternatively, you can pick up a smaller brush and keep dropping. But if you drop it with the help of dabbing technique, though, drops will be more natural and would look more group. So to this mountain you will add details with a dry brush technique. So for the dry brush technique, remember, we have to pick up the paint in a very thick consistency. Okay? And do not have too much water. Picking up the bed, the dab your brush onto a paper cloth or a paper to show on a napkin so that the excess water is out and watch it means onto your brush is pigment. Always after diving. Remember to first tested on a rough sheet of paper that if whether your paint is perfect. And just I still have a lot of photo. Now that's perfect. We're just giving some textures. You're on Google by Don mountains with codon. So the direction which you want your texture to be moved or brushing this direction. Now for this Mountains here, I want the pictures in this area. So I'll move my brush in this angle. And the distance to anyone to New and this time temptations dentist to this foreground part here, again will be marking some green so that the transition looks mood and matching. So if you have a green remaining onto your palette, you can pick that up on Rails, remove some extra green, and just add bush like structures. You're onto this line to make it local natural. Again, these bushes can be of any shape and size, some small, some tall. As you can see, I'm just moving randomly in the front video. Choose lambda comes after it dries. It will again give you a predetermined value. Alternatively, you can also use a little lighter tone to give it on MOOC through that, just randomly a template so that it stands out after the trace. So we are done the TOEFL spin. Let's remove the masking. Remember to remove the masking tape once you have been doing is trying to remove the masking tape at an angle of 45 degrees. Because if you remove your paper along with it, as you can see, I'm removing it at an angle of 45 degrees like this. And that's a first-class project painting, an easy quash landscape photo big. Now, in the next project we'll see how to paint without leaving those white gaps and a more detailed painting. So see you in the next class project. 9. CLASS PROJECT 2 PAINTING THE BACKGROUND: Let's begin with masking gonna be birth. So all of you can mask down your paper. We'll begin with dependence sketch for this painting. There's not much of a pencil sketch. We just need to mark over rising At almost like 40 percent about the paper. And we'll be having some bush like structure, which is like structure you have. So that's it. That's for the pencil sketch. We'll begin with this guy forced. Again. I'll be using the ultramarine shape mixed with white. So clean your brush. Picking up some shade of ultramarine blue again. And then some white. And begin painting with ultramarine forest. Use too much water because this is directly going to be our final Leo. There is no beastly or to build because the sky is pretty decent bit. And there's not much of detailing. Some binded, innovative consistency so that it remains opaque. Now, by going downwards, I'll pick up a lighter value. Always remember to pick it up and take consistency. Remove the excess water from your brush by dabbing it on the onto a paper towel. Order evolved lot. And now on while I reach new to the horizon line, I'll make it almost equal to a white sheet. So we're picking up more of white and only are tough tint of blue. And now moving from the upwards through the downwards, I'll just move or damp brush. From the dof, the lagoon. To get these smooth blend in, you'll see the blenders become so small that it has no different transmission lines that is visible between the food values of the sky somehow from the bottom to the top and meet once again to give it all. While this is still a bit of bit, what I'm going to do this, pick up some light values that is EDL or live, just tone of blue or almost white. And just give some random strokes from the edge of the sky at the top areas to make clouds and the sky look more dramatic. So just giving some diagonal strokes and coloring little clouded structure. I'm doing this while the background is red so that the most easily and they fallen do and watch or unsettled with the background colors. So just and brush in circular motions to give little cloud-like structure on the dark areas. That's it for this guy. We will not be adding any more details. It's going to be assembled sky for our foreground will be having all dream field. So we'll first begin with picking up some yellow color. So I'm directly putting OK, picking it up from my body because I do not need to mix it with any other color in just one line of fit. So I have just marked or your local law. Now below that, I'll knock doc goes on some light cream color and then blend the yellow and the greens to the adult. So this entire area, we'll give this color blocking of two green don't. And then we'll add details with a darker green. So now we'll blend the two. I have just clean my brush and clean water, dabbing my brush so that there's not excess water also. Okay. I have hardly any water. And now from your how I knew my brush like this from left to right, to blend in the yellow and the green together. Don't worry if some yellow has gone into your Bush, even rebuilding it, put on there so you can get covered up. Now since my Yellowstone too much green. And what I'll do is I'm going to pick up some yellow color onto my brush. And I will apply it and learn to my fear. Make this making my field moonlight boat with some yellow dunes and some green. Don't remember. To remove the calendar on your palate if you do not want to spoil the shear. So this is our background for the, for our field area. The list trace will pin the bushier. For that will be picking out some green sheets. For building the bush will be picking up light green shade and mock the bushier simply with the light green condo. And then once it dries, we'll add details with our darker green color. And we read for this entire background to dry and then paint the details. I have picked up my fan brush. Now we'll be adding the details of the grass, but the help of a fine brush, it becomes easier, are alternatively, if you do not have a fan brush with the find rigger brush, but that will take a longer time. The fan brush makes it easier. Okay. So I have picked up some dark green shade onto my Padlet and I'm picking up some color, some color onto my brush. I'll tap the excess water. And now I'll just move it like this to give these Gosling structures. Can you see it becomes so much easier to add these cross-links Trump chose with the help of a fan brush. And this much but only will be adding the justice. Now, we'll paint our trees in our phone brown. So with the help of a round brush, picking up the dark green color. I'll be having one key here. So I'm just marking those small tree. You will be adding details with the lighter color on top of it. And another tree, just walking the rough tree-like structure. And then we'll be adding details with different Boolean values of green and create the stem. 10. CLASS PROJECT 2 ADDING DETAILS: Although on to this bush will be adding details, but the dark green don't know. So we just pick up the dark green and optic consistency and just dab, leaving some light green areas to add depth to these bushes. So I'm just dabbing in some areas, some areas in the light green color as B had been did earlier. Now, with some wrong color, you can use any darker tone of brown anoles. You can mix burnt sienna but black. And being during those G stem you will be adding details to this later on with black color and just dropping or damp brush to merge it onto the background with the help of some green. What you can do with dab some colors so that it has the blue read loop that will pick up some light green shade. If I need a lighter tone than this, which I do not have anyway set, so I'll mix a bit of yellow to get that clean. This is the light green tone that I need to add details to my tree. With top point of the brush, modest brush. I will just draw normally be mounting, dabbing like this onto my tree so that it looks like the tree leaves like structure on the team. Similarly on to this tree. And these details, only once your background color layer of the tree has dried completely, or else the colors will not remain distinct on there when they merge with each other. On today's grass area will be adding some flowers with white and yellow. So pickups on white onto your palette. Pick up a smaller size brush. I'm using my detailer brush size. One minimap. This ADR is far from our view, so we'll just be having some dab, dab, dab status. These flowers are far away from us. So just dabbing some your In this video, we'll be having the complete looking Marco, complete flowers which have the polio or Bechdel showing us. And this area, since it's far, we're just creating some flower-like structure. So you know, this means that the field is far from us deserialize, we can hardly see any flowers clearly from your OK. Now, so as I add as many, or you know, these dabbing gods with wider July. And now we'll been detailed flowers. So 1, 2, 3, 4, and 5, these easy flowers is when we went to B, will be in demand and sizes and shapes. So one flower just bending like this. Another flower, which is about the blue and not bleed completely. And some flowers with just do by dels vagal or more on doodle. No premature blooming or fears may this. So keep on adding these flowers. I will fill the background with as many flowers you like randomly with different shapes and sizes. So I know this looks a bit tedious, but trust me, at the end of it, you will. How does feed looks? So keep adding these tiny flowers. Somewhere in-between your, you can put some smaller dots that even some flowers, you're just in the initial blooming stages and not a fill up on your test. If you can see, we have been doing with the light bottle on day 0, 0 or darker tone that is right on your bank along with green. And still, since this medium is obeyed, we can see the white flowers, so Paoli, and it does not lose its shine because of the background color. But if you will pick up white and all, all ready till consistency that is, or adding too much more dog, then you will not get these or big look of the flowers as I am today, because I'm using almost without any water, directly white in a very thick consistency. I'm done adding all the flowers into my bag down. And now with the pointed brush, I'll add in the stems to these. Okay, So pick up either a brush that has a pointed tip off or detailer brush that does size double 0, order 0, 0, 0, 0, at least if you do not have tone and rushes to double the row and 0. To build, you pick up some black paint. And from the bottom of every flower will be giving these black stems. Deliberate them. If you do not have a very thin brush quadrupled alternatively, do is use proof black pen and give these stems somewhere. Additionally, you can give some extra stems so that, you know, we get the depth of the black color onto for the stems to give out in these stems. I'm just adding some random black stems here because these are all the flowers at the end. So they should have that natural looked at even the stems on there are visible in a very small o sheet. And on the Mason black strokes here and there. I'm adding a bit of yellow to this brown to get that yellow ocher light shade. If you have a direct yellow ocher, you can use it. The reason why I am trying to mix colors onto my palette and use the colors remaining on the ballot so as to show you that with limited colors also, this exercise can be done by mixing one column with the udder. Now to every flower, I'll mix in a little bit more of your local bit. Don't like cheap because this is still So the light yellow ocher shade now and now to every flower will give the board in the center on this one then dipped duping doing. Alternatively, if you want, you cannot add these boards and leaves the flowers there. But if you see after adding the board, after adding these boards and the flower is looking monads and it does giving more depth to your painting. Now, I'll pick up this yellow, the light yellow shade that I have to add some more details to our g's in Photoshop. And I'll just dab some flat leaves leg structure like this on boy. I'm randomly just dabbing my brush on Buddha tree to create some leaf-like structures. Picking up some black to add highlights to the ranch and some to the stamp. This adult age effect, adding some details and some random branches with black on the tree. 11. CLASS PROJECT 2 FINAL PAINTING: I'll just give some grasp obscure. And a little bit of this. We are done with our painting. And this is again, an easy landscape. If you want, you can make these clouds a bit darker. So we'll do that. We'll make these clouds a little brighter with the help of light. So pick up some white and move your brush in some kilohm. Lu Xun's. First one to edge. Then with a damp, clean brush. Just blended the background like this. So now these clouds are looking more realistic and you're not visible. And similarly here, I just added the Stop Online and clean my brush and blending tools. Hybrid also add one Cloud humor because I'm finding this unlimited them deals with cloud 90 odd and it'll binded blend well with the backroom. This one wing of them, brush blend of this. So I am satisfied now with this easy landscape. Let's remove the monster death. Remember to remove it at an angle. I'm removing it at a 45 degree angle so that it does not DataFrames. Let's have a fun little view of this. So you another easy quash landscape study for business. I hope you guys liked this class project. 12. THANK YOU: Thank you to all of you who join me for this class. I hope this class on beginner friendly Gross was helpful to you and to understand more about this medium and get friendly with this medium and understand its property. I would love to see your class projects and do the project section. Open up this session.