Easy Landscape in GOUACHE 2 | Sandrine Curtiss | Skillshare

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Easy Landscape in GOUACHE 2

teacher avatar Sandrine Curtiss, Artist, explorer.

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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 40m)
    • 1. Introduction

      1:06
    • 2. Supplies

      4:03
    • 3. Painting Exercises

      7:51
    • 4. Sketch

      2:01
    • 5. Sunset

      15:46
    • 6. Silhouettes

      15:18
    • 7. Tree Line

      7:52
    • 8. Grass

      11:24
    • 9. Long Grass

      7:44
    • 10. Branches

      25:25
    • 11. Final Thoughts

      1:07
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About This Class

This is the second class in a series of easy gouache landscape tutorials that I'll be sharing with you throughout the summer.

In this second lesson, you'll build on the skills you learned in the first class. We will paint a gradient again, but this time it will cover the entire paper and we'll use more colors. Then, for the fun part, we'll add the black silhouettes of the landscape one layer at a time. 

Each video is in real time so that you can see the full process and speed when I apply the paint and blend it. Take your time and follow the step by step instructions to achieve a great result.

Gouache is an easy medium to use, but it can be tricky if you don't know where to start. I hope this series of tutorials with help you gain confidence and enjoy this fun medium.

If you're interested in taking this class and are not a Skillshare member yet, I'm happy to share with you my referral link, which will give you a free two months subscription. You will not only be able to take my class, but also thousands of other classes offered here. Have fun!

Click here to sign up.

Meet Your Teacher

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Sandrine Curtiss

Artist, explorer.

Teacher


Hello, I'm Sandrine.

I'm a self-taught artist, always eager to explore new mediums and new techniques. As I learn more and more, I like to share my findings with other artists as a way to give back.
Until now I've shared my art on YouTube, Instagram, and Facebook, and I'm happy to be able to do it in a bit more details here, on Skillshare.
I invite you on an art journey where we'll explore all sorts of media, both well and not so well known. So pack a bottle of creative juice, and come along with me.

 

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Transcripts

1. Introduction: Hi everyone, Welcome to the second easy landscaping gouache class. In this class we're going to build on the previous class where we learned how to paint gradients. The gradients that we are going to paint his time, we'll cover the whole page and has more colors than last time. But that's really the hardest part of this painting. Once that's dry, we're going to add a bunch of silhouettes which represent a landscape showing against the sunset. That's a fun and easy way to paint an evening landscape. So after doing a few warm-up exercises, we'll get started with the sunset and then add the silhouette one layer at a time. The whole class is in real time and you can follow each step-by-step at your own pace. You can share your progress along the way and ask questions anytime. And together we will paint a beautiful and colorful landscape. I'll see you in class. 2. Supplies: For this project, you're going to need some paper and I recommend some thick paper. I'm going to use a mixed media art board by Canson. It's 8 by 10 and it's very, very thick as you can see. But what I really recommend, especially if you're going to use a lot of water because this is not going to take a lot of water. I do recommend some watercolor paper, at least a 140 pounds, whether it's cellulose or a 100 percent cotton, it really doesn't matter with squash. So any watercolor paper that's at least a 140 pounds will do. You will need a pencil or mechanical pencil for your sketch with an eraser. Then some washi tape or painter's tape, whatever you have, you can use this to tape your paper down on your desk or on the drawing board. Or simply, I didn't have to tape this down because it's so thick. But I like to put some around at the edge of the paper to have a nice clean frame. This is optional. Then you need some paint brushes. So for this project, I used a couple of flat brushes. They're not very big. I don't really have the size for these two, but get a medium and a small one. Basically, it will depend on the size of the surface that you're using. I recommend not to use anything bigger than 8 by 10 because it's going to be a bit challenging for the gradients unless you have very, very big brushes. Then I have also a couple of round brushes. A very small one and a small one and a liner. The liner will be useful towards the end when we start working on the graph. If you don't have one, and that's okay. You can use your very small round brush. You'll also need a container for water, paper towel, and a pallet to put your paint on and do your mixes. I just use a ceramic palette. It's basically a ceramic tile that I get at the hardware store. Feel free to use whatever you have. And finally, you need some gouache. We can use any brand you want. I'm going to show you in a moment all the colors that I'm going to use for this project. And I'll show you the swatches with them so that if you don't have this particular brand, then you can use the chart as a reference to pick the colors from your brand. So this one is Winsor and Newton and I picked this one particular because it's the easiest to find for everybody. But if you have some hemi, Mia guage or any other brand, feel free to use that. For the colors I used the primary yellow, the primary red, the ultramarine, the ivory black, sink white to mix it with colors to lighten the colors. And the permanent white, which is a bit more opaque than the zinc white. For the highlights. 3. Painting Exercises: We practice painting gradients in the previous class. This time we're going to practice painting the details on the silhouette. So first we're going to practice with the tree line. So I'm going to just paint a band of black and it's just random, it's just groups of trees, I guess, on the horizon. And actually you can see if you're using watercolor paper That's really textured, that you might have problems to make crisp lines. So if you want to use hot press paper which is nice and smooth, that might help you with that problem because you're paid for not fall into the little holes of the paper. So Tibet, the tree line, you have to think about just treetops sticking out of the horizon basically. So with a round brush, you can just make it poke out of the band of black that you just painted. And some places you can make your marks a little pointy. Some places you can make them round, do a variety, and don't hesitate to make it all just random. Now of course, when you paint to landscape pure, follow the reference photo. But for now that's all you need to do. Such really, really easy. Now let's practice painting silhouettes of little pine trees and make sure you don't have photo fingers like me. And you hold onto your brush so you don't put paint all over your paper. So take a small round brush again, loaded with black paint, that's about milk consistency. And then paint a vertical line going down and then random little lines going sideways. Remember that your pine tree will be skinnier on top and a little wider at the bottom. So make the horizontal line a little wider at the bottom. And if you paid the cluster of trees, then you can make them close to each other. And eventually most of it will blend into each other. But you can really give an impression of a bunch of trays together. So practice painting a few of those until you comfortable with them. And finally, we're going to practice painting the grass. Again, you can see that I'm having trouble on that textured paper. I have a hard time making a crisp line. So I'm glad that for my final project, I'm using a smoother paper. Now, again with a small round brush, you basically need to make some very short wispy lines sticking out of that band of paint then need to be random and go in different directions and overlap also. And when you're done painting the grass, make sure that that horizontal line that you painted doesn't stay like this because it looks a bit strange to see it through your grass. So with your brush, do kinda like a tree line underneath. So paint some little random shapes on the edge of your line. Always with a milky consistency. Because you really want your brush to be nice and full of paint. You don't want your brush to run out of paint mid stroke, make some longer wispy blades of grass. Now. Now if you have a liner which is kind of like a round brush but with longer bristles, you can make much nicer graph. It looks a lot more random and it looks skinnier at the end of the blade of grass. And then you can also use it for small blades of grass, they will look a lot finer as well. Virgil showed you that you can use either brush and that you do not have to go get a special liner brush for this painting. If you do not have one. Again in the area of the long grass, you also need to make this little random shapes at the edge of your line so that you don't see a straight line through your graph. Finally, we're going to work a little bit on the branch and a few leaves. So the branch will be a random line. You can roughly follow the shape of the reference photo if you want to, if you have your liner brush, you can use that or you can use your round brush as well and observes the different shapes of the leaves. Some are heart shapes. It's kind of like the traditional leaf shape that we're all familiar with. And then some you can see sideways only the thin part of it, but you can see that there's a crease in the center. And you can see one side going to the left and one side going to the right. And some shapes are totally random as well. So practice a little bit with those exercises. Use them kind of like warm up exercises before you jump into your final painting. 4. Sketch: For the sketch, we're not gonna go too much into the details and we're going to stick with the main shapes. So the horizon line seems to be a little bit below the halfway point of the page. And from that horizontal line, about a quarter of the way on the left side, that's where that little cluster of trees is. So I put a little line there and then I drew another horizontal line just underneath it to show that first inlet. And that goes about two-thirds of the way towards the right side, then back from the tree cluster, I roughly sketched the tree line going up towards the right. I didn't even bother adding all the shapes of the trees because we'll do that later with the paint. And that goes all the way to about halfway up the paper. Now back to my inlet and the background, I tried to draw a very flat elliptical shape and it comes back just a little bit past the cluster of trees. Then again slightly under that, there's a very, very skinny inlet and this goes back all the way to the left side of the paper. From there, about a quarter of the way up the page, you can draw a horizontal line, not all the way on the left side. It just, it goes down a little bit towards the left side. And then all you have left to sketch is the little grassy island in the foreground. So we're not going to sketch anything else. Will take care of the tree branches and the leaves later on and would probably not going to even sketch those will go straight with the gouache. It's really not that hard. But for now you can clean up your sketch and then we're going to start painting the sunset. 5. Sunset: So put all the colors that I need on my palette. I've got my white, my blue, my red, and my yellow. But before I paint anything, I need to wet my paper so I make sure it's nice and wet and it's going to help me spread and soften the first layer. Once the paper is nice and wet, then I used the yellow, just the yellow and I start applying it a pretty milky consistency. So on the reference photo you see that there is some yellow just over the middle line across the paper. It's very orangey, but we're going to start with the yellow and add the read over it and blend it together so that yellow will go all the way down the paper. And I tried to make it a little darker on the top. And then I use my red and I start applying it, but not from the very top of that yellow line. That's about halfway down the page, I'll say maybe a little bit over the halfway mark. And as I go back and forth with my brush, that red blends with the yellow and it's not as bright anymore, it's more than a dark orange now. Then with the yellow aside from the bottom of the red section. And I work my way up, but not all the way up. My goal is to blend some of that new yellow up into the red. And then I go down again to drag a little bit of the red down into the yellow. I'm just trying to make a nice gradient. And with a damp brush know pigments on it. I tried to soften the line between the yellow and the red on the top. Now for this guy, I need to mix the blue with a little bit of the red because the sky has a little purple undertone to it. But be careful the red is pretty powerful, so just add a tiny little bit of red to the blue. You don't want a purple that's too strong. You basically want to blue with a tiny hint of it. So drag that blue all the way down to the yellow. Tried to make your wash nice and even if it's not, it's okay. We're going to work on it a little bit more with the next layer. Then I added a little bit more blue because I thought there was not enough pigment on my paper. I really want my sky and my sunset to be very bright because the photo is really, really bright. The damp, clean brush, I'm going over the gradient again to try to even it out, to smooth it out. Even pulled a little bit of the yellow into the blue. Then I let it dry because as a color shift, when the wash dries, the color changes a little bit. So I wanted to know where are sued and see what the colors really look like when they were dry so that I could add my second layer accordingly. For the second layer, I started working with thicker paint and I saw it from the top this time. So I've made my mix again of view with tiny little bit of red in it. And I started adding a little bit of white as well to make it more opaque. And as you can see on the picture, the transition between the yellow and the blue is quite pastels if that's even a word. So I didn't need to add some white to that blue to make it lighter and more opaque. One thing you need to be very careful of is that once you do a couple passes, you want to make sure your paint remains clean. A few go down into the yellow, don't go back into the blue, otherwise you're going to start mixing some green. So clean off your brush and load it again. And now you can also make still white but the yellow layers of your transition. And now it's time to brighten that red. So go straight with the red on to that orange. It will blend a little bit with the orange and tone down a little. So don't worry about that. Plus we're going to add more yellow to it later on. So see about a third of the way up near to where the bright yellow sun is. This is nice and red. I mean, it's very dark orange. So don't hesitate to make it look nice and bright. So now by adding some yellow to the top and bottom, when making a beautiful dark orange. I added some yellow all the way down to the page again, but I tried to little bit of red as well because I need to work on the gradient again. And once that's done, then I go back to where it kinda transition between the yellow and the blue. Ultimately, I want the top of the base to be darker blue and then gradually lighten it down to a lighter blue as it gets closer to the yellow part. Now, as you keep on adding more and more layers, remember to add less. Tend to be more and more opaque. Now notice that at a transition between the yellow and the blue, that's kind of a lighter, muddy purplish, I guess. So if the yellow mixes with the blue a little bit, It's okay. It will help make that little light purplish mod, I don't know, fits haze or I'm not sure what it is. But this transition into the blue skies definitely a little bit tougher than Transition going down because it's only between the red and the yellow going down. So take your time, be careful and make sure you clean up your brush off. When you're working on yes. Sunset until you're satisfied with it. And if you let it dry, put it on this side, and get back to it later, and then she cannot get a perfectly smooth transition. Don't worry, because it's just the background. And then we're going to be adding the black shadows on top of it. So it's going to cover quite a lot. And the background's going to fade in the background and the main features, the main parts of your paintings will pop out so you won't pay as much attention to the details in the background. So don't worry too much about it. Also, if you're using a piece of paper that's larger, it might be harder on us use of Arabic brush to make smooth transitions. If you're working on the sketch book or a smallest surface, it'll be easy to blend everything smoothly pretty fast. 6. Silhouettes: If you went with a pretty opaque background, you might not be able to see your sketch lines anymore. That's okay. You can redraw them over your sunset or sincerity drew them and you kind of know where everything else you can just try to go straight on the paper with your paint. It's up to you. I'm going to go straight on the paper with my paint. Very few. We're gonna go ahead and redo your sketch. That's fine. Just pause this video, go back to the sketch video and do it again. Before we start working on our shadows, we need to establish where the sun is. So if you go back to the horizon line, which is little bit over a third of the way up the page. It's right there except it's not quite halfway. It's a little bit to the left. So you some plain white paint and start drawing a tiny little sun. We're going to keep it white for now and we'll get back to it later on. And now we're going to start working on the shadows. And to me it's really the fun part of this painting. All you need is black. And now that I've established more or less where my horizon line is on my tree line actually, then I'm starting from the sun and I'm going to go up a little bit and work on the tree lines. My line doesn't have to be straight because there are a lot of tree tops. Select my brush, poke out from the line from time to time to make sure that my line is not even. You black needs to be diluted a little bit so that it spreads nicely on your paper. And if you see the red showing through that, so K, we're going to add another layer of black later on to even out the whole black area. So all you're doing right now is basically blocking those big shapes of black, which is in my opinion, very satisfying. So I'm looking at the right place to put my little tree cluster and I'm trying to define them a little bit, just a little bit. And I noticed that the tree line that's behind that cluster, she's makes a horizontal line right above the line at the bottom of the streets. So far, I was working with a small round brush and I needed it to add the paint in small areas. But now that I'm going to start adding the paint in the bigger areas, I need to plug bigger shapes. I picked up my flat brush and I'm using the corners to add the details because it does come to a fine point. But then I can plug in the rest of the trees very fast and very easily. The first part of the shadow is already blocked in and it already looks really striking. I really like that effect, sunset. So as I'm painting, notice that there are a few areas that are bands of water. I'm not lucky, everything entirely. Letting a little bit of orange peek through. And then I start working on that first ban of grass. Grass just yet I'm only blocking the main shape. Skinny area. You can get back to the round brush if you want to. Use your flat brush sideways. Now working on the Sacred Band of grass right underneath, just trying to determine the rough shape of it and then blocking in the bigger areas. So when you see me as a tape with our brush from time to time, it's because I'm looking at the reference picture and I'm trying to make sure that I'm adding the right shapes in the right areas. That right corner of the grass. It looks like it's a reflection of the trees on the water. So I tried to line up those shapes of the reflection at the bottom with the shapes of the trees on top of the tree line. Now it's time to work on that little island of graphs. So make a rough elliptical shape, very rough actually. And I tried to make it touch the bottom of the page as well. My shadows. And then we'll start adding. 7. Tree Line: Now it's time to add a few details. But first we're going to take our yellow and cover the white of the sun with it. So because the white is nice and opaque, it created a barrier between the yellow and the red for the background. Since yellow is often a transparent color, it would have been tough to build layers of yellow to make those son look nice and bright. That's why we painted it white first. Once you're happy with your son and your yellow clouds, it's time to get back to the black and build the little details. Now the details are really detailed per se. If you zoom in on the train line, you'll see that we can see the treats up sticking out. So it's a shaggy line really because there are branches and leaves sticking out in all directions. But of course we're not going to paint every single tree top, every single branch, because we can't see all of, um, which is gonna give an impression. Just make the tip of your brush puck out of the top line to give an impression of all the little tree tops sticking out. Now for the little cluster of trees, it's a little closer to us so we can see a few more details. We can see that those trees are pine trees, for instance. Because of their triangular shape. Today in those it's pretty easy. Just draw a straight line for the truck going down and then paint smaller irregular lines going across to track all the way down, making them a little longer as you're going down towards the ground where the base of your trees is wider. On the other side of the cluster that's closest to us. It's the same thing as at the beginning. He just make tiny little marks sticking out of the line, trustees, shorter trees sticking out. Now, when you do it against the sun, it will really stand out. Try to keep your eyes on the reference photo because you can see that even with the trees all the way in the back, they are clusters of trees that stick out a little bit compared to others. Some are a little bit taller than others. So they kind of look like bumps. So keep an eye on that. The trays on the third half, on the right side of the reference photo are getting closer and closer to us. So we can see more details. We'll actually see some branches sticking out. So we can actually define them a little bit more without overdoing it. Because again, it's just an impression of the stories and those branches sticking out. We don't need to have every single stick and leaf to show in detail. We can also take the opportunity to define the shoreline against the water and add a few details if necessary. Again, keep using your round brush so that you can take advantage of the fine tip. Now back to the sun, if you take a closer look, you'll see that there is a halo around it. So we're going to append that with just plain yellow, since we did not put any white around the sun, the yellow's going to blend a little bit with the orange and it's going to help give that halo effect. We can also add another layer of yellow on the clouds, especially for dry, paler because of the white underneath. At this point, we can also work on the sun's reflection on the water directly below the site, as well as a little bit of glistening water within the black shadows on the right side and on the shore. Now that the trees are done, we're going to start working on the grass. 8. Grass: For the grass, we're going to take a very small round brush and with the black strip that's in the back, or we have to do is just flick our brush with the black paint on it just a little bit because that's the strip of grass that's the farthest. And so the grass doesn't look like it sticks out as much it does, but it will just look smaller because it's farther away. So don't make it stick out too far. And make sure you don't make straight vertical lines. Think about for on an animal for instance, some logo a little bit to the left, some local little bit to the right, somehow overlap each other. That's what's going to give it a natural look. I don't know if you noticed, but on the picture there is a bird house. And I decided cake now, right? And that painted at all, but feel free to paint it if you're 110. Now back to the grass. As we go towards the left, the strip of grass gets thinner and thinner and it basically looks like it's flooded, like the water has taken over. So if you look carefully towards the very end, some of the grass patches do not touch each other. So take the thinnest brush, you have to add those tiny blades of grass. Once you're done with the grass sticking out, you're going to have to draw the reflection on the water now. And it's the exact same thing, but a mirror image. So if your painted a patch of grass to came to the left, then the reflection right underneath will also have to stick to the left. Reflection cannot be random. It really needs to show why she painted on top. So go all the way across that strip again. The reflection after grass. Once you're done, you can get back to the yellow and cover the sun's reflection on the water with the yellow. Also on the picture you'll see that the sun itself is a little wider, little paler. So you can mix some yellow and white and add another layer to that son to adjust it the way you like it. With a thin layer of black, nice and diluted, it's time to draw the reflection of that cluster of trees on the water. And you can make it very simple by drawing some simple horizontal lines under each tree, or at least the biggest ones. And you can make those lines kind of zigzag all the way down to that strip of grass. In JSR quiz that treeline year will notice that some of the grass patches are taller than others. So try to follow the pattern. Keep your eyes on the reference photo and make sure you show those bumps and dips to make it look a lot more natural than if it was a line straight across. At the bottom of the second strip of grass on the right side, you'll notice that the reflection is not of grass, but of the trees because those trees are closest to us and they're reflecting in the water. So follow the shape of the trees that you painted on top and try to paint similar ones at the bottom. And use the reference photo as a guideline as well. Continuing to towards the left, you can start trying to reflection of the grass. You actually don't see the grass in that area, but the reflection is there anyway. So do just stick with the first strip of grass, except that the length of the graph is a little bit longer because it's closest to us. So continue working on your grass and its reflection all the way through. Always making sure that the reflection of the grass goes in the same direction as the grass itself. Again, make sure your grass goes in all directions and overlaps in some areas. And if your original black line was straight or even waving, make sure that you also add a few bumps to it. Kinda of like what you did for your tree line because you don't want just a straight black line with little lines poking out. You really want to show that it's uneven. Now for the little island of grass, I can see that there are some little clusters of shapes sticking out. Really in grass. It's more like some leaves or flowers. So I'm going to draw some random dots and lines making sure that the water peaks through it and then go all around the top part of it. Next, we're going to take care of the tall, wispy grass. 9. Long Grass: So the grass closest to us, it looks a lot longer and we're going to have to be more careful when we paint that because we do want to keep it natural looking. So if you have a long and skinny brush, like a liner for instance, that would be perfect if you don't take the smallest round brush that you have. Mix of black and water needs to be consistency so that the paint can flow nicely. You will not run out of paint mid stroke around the grass blades. At the very bottom of your painting. A lot of blades as well. Can you all see that in the middle of the water there are also some patches of grass by themselves. So pay attention to them, why you see them? The last part of the grass. I believe that the reflection of the long grass grass that is closest to us, not the grass that's sticking out on the top line, but I think there's also a lot of grass just in the water independently from that strip. However, to just simplify this painting, I decided to ignore that fact and only painted it as the reflection of the grass that is on the strip. Sometimes when you make your painting, you can choose to edit it whichever way you like. You are in charge of what the final product would look like, like earlier, decided not to paint the bird house. And this time I'd say to simplify it as well with the reflection of the graph, feel free to do it whichever way you want. What makes you more comfortable, what makes you happy, and what makes you proud of your painting. Now for the long blades in the foreground, at the very, very bottom of the page, you can apply a little bit more pressure on your brush to make them look a little bit wider. There are the ones that are the closest to us, so they will definitely look bigger. Area is the most detailed of the whole painting. So you need to make sure that your grass looks natural, that it's wider at the bottom and thinner on top, that all your blades on trust parallel vertical lines that they go one way or the other way that they overlap each other. You need to make them look a little messy. You don't need to stick strictly to the fixture and what the graph looks like at the bottom there. It's okay, fine blade is not exactly the same length as the one you're trying to paint on the picture. Has long as you focus on making your lines nice and wispy, you're all set. Okay. 10. Branches: All right, We're almost done with our painting. If you like it this way, you can be done right there. But I decided to add the branch and the leaves to give it an extra dimension. And I think it looks actually pretty good. So we never sketched this. And the reason why we didn't is that it's a little messy and pretty tricky to sketch. And I were to show you a simple way of doing it. So you need to focus just on the branches, just the lines that the branches form. If you're not quite sure you can draw those with a pencil, but go very lightly. And remember that if he need to erase a might damage your painting. So if you need to erase anything, just use a kneaded eraser and just dab at it rather than Rabban it. But you don't want to lift your paint and or damage it. So load your round paintbrush with black paint again and again, we're gonna go with a milky consistency because we want the paint to flow easily on the paper. And about a third of the way towards the left, we can draw the first bit of the branch and make it go back. So it goes down a little bit and goes right back up to the top line. We're going to make it random. It does not have to be exactly like the picture. And you can see that mine isn't for sure. And we also have to take into account that the format of my paper is not quite the same as the format of the reference photo. My paper is a little shorter than the photo, so it's not going to look exactly the same, but the idea is going to be there. It's not going to be the formed because it's not a phase portrait or an animal. It's just a tree branch which can be any shape. Anybody will recognize it as a tree branch. So I see that the long branch goes down across the painting towards the left and stops about halfway or little bit over the halfway line, right above the little cluster of trees. Then there's a second branch that starts about halfway across the top line of my drawing and ends a little above the quarter line mark on the left side of the page. So this is my skeleton. And now I'm gonna do is at the leaves. It's going to be a slow process. And I'm going to look at each leaf and its shape. And I'm going to try to reproduce that shape. Sometimes it doesn't look like a leaf at all because it's in a certain position. But it's going to help you actually practice noticing shapes rather than trying to just paint what you think you know, is a leaf. Now I can see that at the very tip of my branch, the bottom branch, there are two leaves right there and they're kind of together about the size of the cluster of trees underneath. So that's what I need to be careful about is to make sure that I paint them at the right scale. So what I do is observed their shape of the leaf. Tried to just draw it with my brush and then I fill it in. I tried to look where it starts and where it ends in comparison with the branch, which parts are above the branch and which parts are below the branch. And it also tried to pay attention to where they are in relation to each other. So about how far away on the branch it is from the previous leaf, how high it is compared to the other one. I might not have the room to paint them all, but that's okay. Nobody will ever know that I skipped a leaf or two. Again, people will actually see this as a branch with leaves on it, not a branch that's missing leaves because I didn't have enough room to paint them all. Hi. When there's a group of a lot of leaves together, it might be tricky to figure out what you're looking at. Make sure you observe that area really well. And if it really overwhelms, you just make it up. Just go by what you've already painted, the shapes you've already painted, and you can paint those shapes again, like I've already said before, that do not have to look like the reference photo. Hi. Okay. Hi. Hello. I decided to make it just my choice. You do whatever you want. On the other branch. Yeah. Okay. Hi. Okay. All right. Now that part in the top-left corner is very messy. You can barely see what's going on. So I made it up. I just added some like shapes because I didn't want it to look too messy. Finally, I'm going to leave some areas. We can see through it. So I'm just touching them up. Okay. Make sure your paint is dry. 11. Final Thoughts: And that's it for our second gosh, landscape painting. You can use this technique over and over again with all sorts of different paintings. And not just in wash, or you have to do is paint sunset and then use black to paint the silhouette of whatever is in front of it. It always makes for a stunning paintings because of the contrast of the beautiful colors of the sunset and the black shadows of the subject in front of it. So if you had fun painting this landscape, I always look for more reference photos of sunsets and use the exact same technique to paint another one. If you do, I hope you'll share your new painting along with the painting that she did in this class. If you have any trouble with anything, please let me know and ask any questions anytime I'm here to help him. Thank you very much for joining me again today. I'll see you soon with another guage landscape class. Bye bye.