Floral Meadows with Watercolor - Learn to paint 2 beautiful floral landscapes | Zaneena Nabeel | Skillshare

Floral Meadows with Watercolor - Learn to paint 2 beautiful floral landscapes


Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
13 Lessons (2h 17m)
    • 1. Hello & Welcome back!

    • 2. Materials you'll need

    • 3. White Watercolor v/s White Gouache

    • 4. Project 1 - Green valley with Violet flowers

    • 5. PART 1

    • 6. PART 2

    • 7. PART 3

    • 8. PART 4

    • 9. PART 5

    • 10. Project 2 - Magical night of Red Blooms

    • 11. PART 1

    • 12. PART 2

    • 13. PART 3

202 students are watching this class

About This Class


Watercolor is one of the most unique mediums for creating art. It's unpredictability and unique characteristics makes it the dearest medium of most of the artists. I have been using watercolor since childhood and my love for the medium has grown over the years.

Landscapes is one of my favorite subjects to paint using watercolor, especially floral landscapes, I have been experimenting various ways to paint floral meadows and in this class I have put together all my knowledge on how to paint beautiful floral meadows. We will look into the art supplies you'll need in a very detailed manner and also explore various techniques which will help you master your watercolor landscape. This class is created for a beginner who is looking forward to advancing their skill in watercolor. 

The two class projects we will do is nothing less than a watercolor meditation, they are absolutely gorgeous and you are going to enjoy the process. Does that sound interesting? Alright, let’s jump into the class and create beautiful flower meadows!!


1. Hello & Welcome back!: Some days I wish if I could sleep guessing at the shining stars and become two lush green medals, how nice it would be to walk around in those colleges, metals picking some wildflowers. If you ever wish the same, I'm going to take you along and let's together enjoy a walkthrough, the micelle with what? Nicholas. Hello everyone. Mezzanine, unappealing. I'm an artist and mother and an art educator. Today, I'm going to teach you how to paint floral metals using watercolor more than a class. This is going to be a watercolor meditation where you will forget yourself and immerse the beauty of nature. We will start by discussing the art materials you will need. I will be giving you a proper guidance about the colors, the pressures, and everything you will need to follow this class, which will help you in your future projects as well. I will also be taking you through different techniques, tips, and tricks. This class is going to be a wonderful experience where you will learn how to play in different kinds of floral metals using watercolor. We'll be doing two class predicts. One as the day sane and the other one, a finite thing. Don't worry if you are a beginner, the entire class is done in real time, which makes it easy for even bigness to follow along. I'm really excited to share my tips and tricks with you all. So without anymore do Chai, me and let's spend some creative time together. 2. Materials you'll need: Alright, let's begin by looking at the materials you will need to follow this class. Let's have a look at the people first. So for this class I will be using my a 100% cotton cold press. Particular people by cancer, canton has quite a lot of varieties. They have mixed media paper, watercolor paper, which is 25% gotten. This one I'm using here as a 100% Carter. And it is 1 fourth LB. The specific fetus is called Heritage. You can go with Amy, Artist Creed watercolor paper, which is a 100% cotton and a minimum of 140 LB. So 1-4 DLB is the thickness of the people. You get, people with different kinds of thickness. You get 90 LB, E14 TLB, and so on. So if you're going 90 LB, The people will be very thin and it won't be able to handle multiple layers of water. So it is always best to go with a paper which is of minimum 140 LB. If we are using veteran wet technique, you can go with any artist created watercolor paper you have, but please check these boxes more than the watercolor and the brush tissues are used to focus a lot on the watercolor paper that you are using. Because most of the time, it is not that you are doing the techniques wrong. It is just that you are using the wrong kind of people. So to get the right result and also to enjoy your watercolor painting, it is recommended to use a 100% cotton watercolor paper, which is out as greed and which is of minimum 140 LB. Now the size of the painting us 18 centimeter by 26 centimeter. Buddha paintings is in a portrait orientation. The size of my people pad as 26 centimeter by 36 centimeter. I just cut that into two. And that is the size of the paper that I'm using. You can go with similar size or even you can go with the smallest size, which is totally your choice. Now let's talk about the watercolor. I will be using artist grade watercolor tubes from various brands. I have added a list of colors you will need for each painting at the beginning of those class projects. You can go with any brand that you prefer. You can either use your tubed watercolor REO pant word close to get the best result. It is always recommended to go with an artist grade watercolor brand. But if you don't have a does absolutely okay, take it as a learning experience and use whatever you have. Now in these two paintings will be using some new tricks for which we will need a whitewash or a white watercolor whitewash with two, I will recommend you to go with that only if you don't have a wide gosh, you can use your white watercolor by Grotius, more opaque than white watercolor. If a using white watercolor you'll have to work in a thicker consistency to make it look opaque. Okay, so this is my whitewash by royal talents. It's a big tube as I use it quite a lot. And my nightclub paintings, I always Corbato big separate tube of white. Now let's talk about the brushes you will need for this class. The first verse, you will need us awash brush. You can use any of your beaker size flat brush to apply those even colder water onto the paper. This one is three by four h Bush crash by printer. It is from the light series. You might have seen me using this fresh in my other classes as well. That's one of my favorite trash. So that is the first brush. Next. These two these two are from silver black velvet plush. One a size number four and the other one is sized number eight. Both of them are round pressures. The great thing about these two brushes are, they comes back to a very nice point when dipped in paint. And it makes it perfect for smaller details and bigger washes. So I don't need to keep changing my brushing between. I can use the same brush for multiple things. You can see the kind of point my precious escort size number, full round brush is one of my favorite because it is perfect for all those little detailing. So those are the three brushes I will be using in this class, size number eight and size number four, ramp rush, and also a flat brush. You can use as many bushes as you wish. It doesn't really matter. You can switch to smaller detailing pressures where we will be applying those small details. And you can switch to medium, are bigger sized, round brush, variable, you feel you need them. So it is absolutely okay. You can keep switching from brush to brush, so good, anything that works best for you. Now to mix your colors, you will lead a mixing pilot. This vanessa ceramic mixing palette at is actually a serving dish which I got from Dyson. I kind of loudness palate because it's heavy and it is easy to clean and it doesn't stain the ballot. Could any kind of pattern that you normally use, you can either use ceramic or plastic or any sort of ballot. And doesn't really matter what kind of pilot you're using. We just did something dumb axial colors. You can either grab a dinner plate from your kitchen. That also works perfect. Now we will be using few techniques where we will need a people toggle to remove the excess amount of water from New Brush. So keep up people traveled next to you. You can also use a cotton cloth in sort of four people towel. Then you will need a pencil and eraser. We'll be adding few sketches of those tiny house and those mountains. So for that you will need a pencil. Next is a masking tape or a Pinto steep. We'll be using this one to fix I will people onto a board. This one is a very normal masking t, which I quote from a stationary shop. It is not any Artist Creed being those cheap or any other expensive team. It's a very normal one. Now, I'll be fixing my paper onto this white writing board so that I can tell time turnaround My people, as for my convenience. And also for this class predictably will have to obtain ten to honorable people to get that effect. Twilio sky will have to make those colors mix in an organic manner. For that, we'll have to turn around our people. So please don't fix your paper onto a table or any heavy Bayes, but you cannot move. Last but not least, you will need to jars of water, one has to stay clean and the other one has fruits off the paint from your brush. Alright, so quickly go grab all the materials you will need and join me in the next section. 3. White Watercolor v/s White Gouache: So here are the two largest Class Predicts from today's class. As you already know, we are focusing on Florida meadows Warner's a day scene and one is a night scene. In the previous section where I explained the art materials I mentioned. It is absolutely OK. Good. Use wide watercolor intro whitewash. I didn't say that just for the sake of it, I wanted to show you an example how you can use your whitewater burglar instead of whitewash. So this exercise is all about that. I have taken out a tube of white crash on a tuple wide door to color. Now we'll do the same exercise using both of them in this class to add those flowers. What we're actually doing is we're creating a based on the motion of the color by adding white Groucho whitewater color into it. There are already a wide variety of pixel colors available in the market. Here is fuel from my collection, Warner shell, pink, lavender, and green pill. On the painting we have on the left side where we have added those violet class, we are going to create a color similar to lambda_2, will be mixing white watercolor or whitewash and permanent toilet to get these different violet tones. You can see I have some darker tones and some lighter tones. Just by tweaking the amount of Y2 ad in your paint, you can get a differentiator wireless. Okay, let's just try what I said right now. So here's my permanent violet and why? And we're going to create a lavender sort of economy by mixing these two sheets. I have my clean palette and I have a small pocket sketchbook. Then I have wide Guassian whitewater color. I'm going to squeeze out a bit of white watercolor on 1here and by guage on another one that was titanium white by the brand BWC. Now let's squeeze out a bit of flight quash. That is wide gosh. This one is from the brand Royal talent. Now I'm going to add Permanent violent onto either wells. You can use any one or that have got let's add them on to either one. They're now on to the other one. Okay. So we have a white dwarf burglar and white guage along with permanent violet. Now let's create a green background, which is very similar to the one we have here, so that you have a better insight on how to use your whitewater global. We do the class project. So I'm gonna take out a level of Sap Green. Now I'll take out a look love integral as well to create the darker tones. Now, I'll create a background. There. I have a pride, sap green on the top. And as I'm coming down, I will make it more depot by adding indigo, I'll create two different patches. And a lot of the Ashwin try white whatever. And on the other one I'm going to try wide goulash. Let me quickly add the green patch. And do similar looking green factors and they have completely dried law. We're going to create a peaceful emotional violet and green. Just like these two sheets, This one is LAB into and being green. We're gonna be adding white into Sap Green and permanent trial it to create a similar shape, will start with watercolor and mixing white watercolor and permanent to outlet. And you can see I'm getting a lavender sort of color at some car just pasted wireless. You can see, you can see the consistency of the paint S1 and this not to loose and it is not too thick. You shouldn't be adding a lot of water. If you add a lot of Watteau, your brain won't have an oblique look. Flowers you would be adding, wouldn't stand out. It will be really visible from the background. So you should be working with a thicker consistency. Now using the sheet I created, I'm going to add some very basic travels on this green background. I'll just have three or four levels. Just for you to understand the difference between white Guassian whitewater color. I wouldn't be adding a lot of them just like how y hat and the class project and the one you're seeing here as whitewater color plus permanent violet. You can see how colleges that flowers looking and it is really visible from the background, just really standing out. You can clearly see how we'll pick the color we made as looking. I will quickly add few more floss and they attend the same using white Gua Shen bill scene. There is any difference. Okay. I'm going to wash off the paint from my brush and I'm switching to whitewash. Let's make slight blush and permanent violet and create a based or wireless. And do the same we did on the first battle of brain. Okay, my Carter's Rudy. Now I'm going to add some flowers onto the UDL patch. Obviously this is going to look appealing because we're using white guage. So let me quickly add some floss just like the first one, and we'll see if there's any difference. You can see both of the flaws are looking very much similar. There is no real difference between the levels we created using white Galatia and white watercolor. They are more or less the same. Now, let's actually whitewater glue into SAP cream and add some grass or what? Q. So this is another thing we'll be item in our class project. We'd be creating a paste of green by mixing white into sap green. So let's try out that also here. We just need a light to no green, which will be visible from the background because we have a dark green background here. If we go with the darker green, it won't be visible. For your lines to be visible, you need to go with a lighter tone or a much darker tone then what you have on the background. And then we'll be just adding these freehand lines. This would be the same exercise we'll be using in our class project as well. So that was white watercolor. Now let's do the same using white Gua Shang, add some lines on the other batch. I will finish up this by adding a black dark onto the center of the flowers and also some darker line. I guess by now, each and everyone of you who don't know how wide galoshes quite confident to go ahead with this class. Giving that little confidence was the main intention of this little section. Because I kept seeing it is okay to use your white watercolor. But most of you might be thinking whether it is really possible if you had the wording Triton turned off your yes, it is possible. For a closer look of the flowers we tried using whitewash and whitewater glue. It is impossible to see which one does squash and which one is watercolor. So don't worry at all if you don't have whitewater color. Now I can confidently say that, OK, everything is sorted now. Without anymore do let's get started with the Whole Foods class project. 4. Project 1 - Green valley with Violet flowers : Here's our first class, Bridget, we're going to be Paley was beautiful green meadow and mountain filled with those violet flowers. Before we begin, let's quickly have a look at the colors you will need and also the techniques that we'll be using for this painting. Ok, let's start. I have my pockets gets procure. R will be scratching the colors in this. Now you don't need to spattered the colors. The colors I will be using are very common ones. You can watch the video and simply keep two shades aside, as we will be starting with our painting in the next section. And also it is absolutely akin or to use the same shape that I'm using here, you can alter the shades according to your choice. For example, in this painting for this guy, I'm using to cause Blue and permanent violet. If you don't want a violet tune in your sky, you can skip that and just go with any kind of blew that to prefer. You don't even need to stick to turquoise blue if you like suddenly and blue Prussian blue, cobalt blue, or any other blue, you can use that word. Okay, so the one you're seeing on the screen as turquoise blue, you can see on my painting on those top area, I have used the shade. Now to add some clouds. I will be using permanent violet. Again, you'd only to stick to the colors I'm using here. If you would like to add clouds using paints query or integral, you could do that. So this is the permanent violent. I will be using this finance from PWC and the turquoise blue is from Rembrandt. Ok, so those are the two sheets I will be using for this guy. Now if you do not have a separate while cheat, don't worry, you can mix and make yours. It doesn't make much difference to your painting. We just need any kind of while a cheat. This is one of my most favorite shade. I use it quite a lot for my night sky paintings. Ok, so the colors for the sky is sorted. Now let's check out the colors for the mountain and the meadow. It is pretty much clear from the painting, the Maine Shared, we'll be using a sap green, this furnace, again from PWC for the mountain and also for the meadow, we'll be using sap green for the mountain and the background will be going with the lighter tone of Sap Green. And for the one and the full crown where you see a brighter green will be going with 1to1, brighter than the one in the background. Both of the must-have cream. I hope all of you have Sap Green with you. It is one of the most common color used by all landscape flowers. It's a perfect Green to paying those fresh green landscape. If you're wondering where am I taking the colors from, I have a separate palette. This when I washed and kept it ready for the next painting. Okay, now to add those details on the mountain, you can see those black patches and these pine trees here. I will be using pains query for that. If you don't have pains create, feel free to use black. The one I'm sweating out here is from White Nights. I need you to count my color box to find the tube. If I am not showing the tube here. So to adding all the deeper tones, you can see those depot dawns on that little house. And also on the bottom you could see some darker tones on the meadow. For all of them, I will be using Payne's gray to iron. Those details on the mountain will be using the dry brush technique. So you will need a people towel and will be dabbing a brush on a paper towel to remove the excess amount of water from the paint. And you'll be creating goes dry brush pattern. We will be discussing more about that while we paint. Now, let's see how we can pin those pine trees. It's not going to be welded ones, citizens, the background, and you don't need to put a lot of effort on them. Anyway. I will quickly show you how you can paint them. Kooky. Start with the tree trunk, but just ten on the tip and asks you take you're lying down, it should be thicker. Okay. So that is a tree trunk. Now, just add some messy lines on either side. You just need to take your brush in a zigzag manner and add some lines on either side. Your line should be shorter at the top and as you come down, you can make them wider. We just need a rough shape of pine tree here. You don't need to go with a very well detailed one. When you're adding the pine trees, it is best to have a branch which has appointed tip, the one I'm using here, a size number four by silver black velvet brush. It's the perfect time to add these tiny details as well as a medium-size details. Because it comes back to a very nice point when dipped in water. So yeah, all you need to do is just take your pressure on either side and has exact mano and create this teeny tiny messy lines. And that will give you a pine tree. Okay, so that will be the method we'll be using here to create all these pine trees. So if you have any particular technique which you use to follow to draw pine trees which you are comfortable with. Please go ahead with that. Because here we are not really focusing on the shape. We just need a rough shape for pine tree. So any method will work perfectly for that. Now let's talk about the colors will need for this tiny house here. To add those deeper tones. I will be using Payne's gray and brown sheet that I used for that is permanent drowned by art philosophy. You can also use bonds. He now the base shade is brown. Then we'll be adding darker tones using paint screen. And just over the rules will be adding a white line using whitewash. You can also use byte watercolor if you don't have whitewash. This exercises just to give you an insight about the Carlos, I know at least some of you were allowed to have your colors ready before we start that, the painting on the bottom right over here, to add some tipo tunes. I will be using integral. This one is from San earlier. If you don't have integral, it is absolutely OK to use any darker blue area caught. We just need to make the green look a bit deeper. That is why we are adding the sheet over the bottom. We need to get that lighter tone in the background. And as we are coming closer, which is over the bottom, we need Docker dental green. Then only you will get that sense of depth. And that is why we are making this idea more taco compared to the background. So those are the only watercolors you will need. Next to, you will need either a white guage or a white watercolor. I will be using whitewash. If you have whitewash, please go with that. If you don't have, you can use whitewater color. White guage works the best because it is more opaque than watercolor. But if you do not have whitewashed, That is absolutely OK. Don't get stressed out. You can use your whitewater color, your way toward the Glarus also opic to an extent, you might have seen this malls coil on watercolor tubes. Here you have a solid black sheet, and here you have a little triangle. And here you have this choir in white. The black holes choir represents that your shade is opaque and the half-filled one shows it as semi-opaque. And a white choir sees it is transparent. So this is how the opacity of your watercolour is rated. So you just need to use your whitewater Adler and ethical consistency to make use of the OP characteristics. Okay, Let's give it a try. I have taken up into whitewater color or my palette. And I'm gonna mix that with permanent violet. You need to use your white and a buried the consistency to get that opaque look. You can see I didn't add much water. Now I'm going to draw some levels using the shader created by mixing permanent violet and rightward color. Once you haven't dark background, the flowers you will be adding build really stand out because we made the color look really opic by adding whitewater color into permanent violet. This will be the shape of the Flavell. I will be adding its normal sheep. So this one is a light violet. You can play with darker violet and lighter Violet and add as many variables as you want. If you added more vital to your violet, you will get a similar color. And if you add in less wide, you will get a bit more darker violet. So you can play with different tones of violet value ideal flowers. I will be adding the flowers using a mix of these two shapes. I will add some hold flowers and I will be adding some little princess will. So it will be like a combination of birds and full flowers. Okay, I'll show you some more flowers using a bit more pride to, to violet. So I will be using less white and more violet to make the color look brighter. For this exercise I used, despite this is titanium white from PwC. You can use titanium white Chinese writer in a white terrier caught. I have a little bite left there. I think that's enough because I am going with Brighter Dawn violet where I need very little, right? So how do you talk solid background as the key? Then when you add these floss onto that darker background, these flowers will really stand out no matter whether you're using white watercolor or whitewash. But my recommendation would be whitewash only if you don't have a garage, you can use whitewater color. We got an ice based ultraviolet there. And again see how opaque it is looking once we added the Y2 article into that. So those are the two shapes I will be using to add the flowers, will be adding plenty of them over the bottom. Ok. That's a basic shape. Now onto the center will be adding some black scribbles. Just a messy circular were there. And onto the bottom of this one as four. Then onto all those flowers and birds we created, we'll be adding a stem like this, just a free hand line. So you need to practice as freehand lines quite a lot because we'll be adding so many graphs using the same technique will be adding millions of these kind of lines. The more lines you add your painting look more beautiful and lush. So these are the lines I'm talking about. You can see them in the background, will be adding them using different tones of green. Some of the darker tones of green and some of the lighter tones of green will be mixing bite into sap green. Just the way we did for the flowers. And we'll be adding to its lines. So we'll go with some taco lines and some lighter lines. It will be a mix of various storms of green. Just like how we mixed violet and White for the flowers will be mixing white and sap green. To get different tones of green, will be adding some grass using Payne's gray asphalt and between. So we'll have all sorts of green in the background, which will make up painting look more beautiful. So as I mentioned earlier, I will be using whitewash instead of whitewater clearer. You can choose which one you want to cool. What both of them works fine. Now, just like how we did the flowers, we will be adding these kind of dotted pattern, mostly in the background just to give it a feel like there are flowers far away. So for the ADS which are more closer to you will concentrate more on the shape of the flower. And for the IDA, which is far away from you, we're going to be adding these kind of dots. We can also use the splattering method to create these kind of patterns. Alright, I think we're good to go without anymore deal. Let's start with a full-fledged class project. 5. PART 1: I'm quite excited to start with this class critiqued. It is one of the most beautiful paintings I have done so far. Let's start with the pencil sketch will lead to add those mountains in the background and also that tiny house. That is the only pencil sketch we need to add. Once that is done, will quickly jump on to painting. This is the worn in the background, which is having that lighter green shade. Now on the foreground will have another mountain. I'll change this area a bit. Little more low-lying mountain here. Ok, so that is a one in the background. Now we'll add another one in the foreground. So you really don't need to follow the exact same shape I'm drawing here. If you want to go with a different arrangement, you can do that. Alright, so that is the mountain in the foreground, but you will be having a docket on of Sap Green. I will add a line over here. So that is AC vi. We add the taco tones. Now I'm adding the horizon line. So over the border will have a meadow. And onto the top we have two layers of mountain. We won in the background and foreground. Now we need to add a tiny house along the horizon line, right over here, a teeny tiny house. When I started this painting, I wasn't really sure whether I should add this house here. But then when I finish the painting, I really loved it. It was given a different dimension to the painting because we have a lot of green in the background and in the foreground. So once I add that drop of brown, it gave a beautiful dimension to the entire painting. The whole focus was on that little house on right. So that is a little pencil sketch. I have added a few windows on either side of that house and be able to clean this area. I will add a clean line over Hugh. Okay. I'm really excited. I cannot be to take you through this painting. It is going to be very easy and you're going to love it. Let's start by applying and even CO2 water onto the sky. I'm using my three by four inch brush brush, and I'm applying a clean even coat of water. We just need a thin coat of water. Make sure there is no pools of water in between. You can run your brief few times to make sure there is no pools of water and the court has even. Okay. So my sky is what we already discussed, the colors that we'll be using for the sky, which is permanent violet and turquoise blue. Feel free to go with any brand that you have got. If you don't have the same sheets, you can go with any similar ones. All right. So I have taken those sheets on my palate. Now to apply the color onto the sky, I will be using my size nimble aid, silver black velvet brush. You can use any medium sized round brush. Ok, before the background drives, Let's quickly add the color onto this guy. I'm going to take a medium tune of turquoise blue on my brush. Now I'm gonna drop that onto the top portion of the sky. The shade is not too bright and it's not too dark, as well as kind of a medium tone. Simply dropped out onto the vet background starting from the top. You can see how I'm adding the color. I'm leaving some wide gaps in between. I'm not gonna go into add any Cloud Search. I will be leading some white caps in between, just like obviously in Cairo. Once I am done adding the blue, I'll wash of the paint from my brush. Then I will switch to permanent violet, again going with a medium tone. And I will drop that in between where we applied the blue. There is no particular order or there is no particular rule because these two colors doesn't create any Marty mix. So you can just relax LIGO around and add in violet variable you want to. So I have focused blue over the top and the bottom, how concentrated on wireless. So by adding water to the bottom, it will give you a cloudy look to your sky. We didn't really focus on the shape of the cloud. We simply added while it over the bottom and blow over the top. Okay, so that is sky. You can see I've entered with a bright 2m over the top. And when I'm closer to the mountain, I went in with a light tone of blue. Then I dropped in some violet in between. And we got a beautiful sky over there. Now take out your paper towel and especially to your smallest size brush. This been a sizeable fall by silver black velvet brush. And I'm using Plains Cree. We're going to start with the mountain. I think it's time for me to get a new tube of beans Gray. I'm going to take a bit of paint. If you have taken my other class zones can share, you know, how much I loved to paint mountains, whether it is green mountains, snowy mountains, Black Mountain's or whatever it was. I am a huge fan of painting mountains. So if are taken my classes, you might be familiar with mine technique. But this time I'm tweaking my technique a bit. So I took a bit of plains Cree on my brush and I'm dabbing my brush on a people toggle to remove the excess amount of water for my brush. I wonder Dr. ocean of the paint. By removing the excess amount of water from your brush, you can create those tribe fringe patterns very easily. Now, onto the right side of all these mountains we added at these kind of dry brush patterns. It is absolutely okay if your lines are looking messy. Trust me, this messy lines are going to make them look more beautiful. Trust the process. Just enjoy what you're doing and don't worry about the end result. Now when you're adding these dry brush patterns, concentrate more on the right side of your mountain. Will go to the left side, can add a very few, and over to the right side you can add a lot, just like I'm doing here. You should be getting a free like you have more shadows on the right side. You don't need to really follow any particular pattern or shape. Just add a lot of them on the right and less on the left. That is only thing you need to keep in mind. I know you might be getting a field that you are going to ruin the painting, but trust me. It is all going to make sense in some time. Every time you load your brush would paint, makes sure to dab it on a paper towel. If you are using wet paint, you won't get this dry patterns. You will end up getting some fat strokes. And that will add e kind of texture to your mountain. Your margin will look plain. So we're Adams dry brush patterns to create more and more Textures on your mountain to make it look a little realistic. Okay, rating I have added in a four drivers patents. Now we're going to add the same onto the mountain before crowd. But for that, we are going with more intense Dr. Frisch patterns. I've read some more overshadow. And now we'll go with the wind and the foreground. I'm going with a much more bolder do not Payne's gray. So I have loaded my brush with pink green. Now I'm dabbing my pressure on the people tower. And I'm drawing the actress Mandel worker. And I'm starting to add the tribe brush patterns. Again, more on the right side and less on the left side. Especially for this morning over here. Now, I am going to randomly add some dry brush patterns. You might be wondering what am I doing, trusts the process without any fear. Adding as many dry brush patterns as you want in a very random manner. At this point, your mountain might be looking horrible and messy, which is absolutely ok. If you have taken my other class on skill share, you know how I used to paint those snowy mountain. I used to go with the lighter tone first. Then I used to go with the tribe rich patrons on top of that. This time I'm doing the opposite thing, will add the drivers pattern first, and on top of those will be adding the Sap Green. You might be wondering if you're doing it right. Trust me, you are going to love the final look of your mountains. I think we have added enough dry brush patterns. Now let's go with the green shade. I'm gonna wash off the page from my brush and I'm switching to sap green. The sap green I'm using qr is from the brand PwC. You can go with any prime that have caught. I'll squeeze out a little on my palate. Now this is the stage where mountains are going to get a build rule may cover. I'll squeeze out a little of indigo ASP. Oh, we'll be needing this once we are done with a mountain, will be using this one for the meadow along with the sap green. To add in the deeper tones, I will choose keep that trading. Now before you proceed with this step, make sure your dry brush patron's has completely dried. Also makes sure to properly clean the brush which you're going to use. Okay, keep those two things in mind and take out your clean brush. Now let's go with a lighter tone of Sap, Green, some water, and take out a lighter tone. And we are going to add that lighter tone onto this background mountain. For these two mountains will need two different tones of green. For the one in the background, we need a lighter tool and for the warning before crown, we need a depot to one. Let's start the terminal value of the screen. It is always good to have a scrap piece of paper next to you. You can test out the colors and also your techniques. So this is the kind of shear and going with for the mountain and the background. Now, I'm going to gently apply this light tone of green onto that entire mountain. Be very gentle. Don't put a lot of pressure. You need to simply apply the sheet onto that entire mountain. Do not disturb the background dry brush patterns. Take your brush very softly and just fill it up. I'm really excited to show you the final look of these mountains. Let me quickly fill it up. You can see the tool I'm using, satellite tune of Sap Green. Now you then decide on what kind of tone you want to use. Maybe you can go with even more lighter tone for the one in the background. So whatever tool you are using for your background mountain, you need to go with 1to1 taco, full warning before crowd. Don't go to a very dark green. If you do that, your drivers patterns on reversible. It is these textures will make your mountain look beautiful. You can see how our mountainous looking. I'm quite happy with the result. I guess you are happy too. And I hope you enjoy the process. You can see those gorgeous textures we have got there. Now you can use the same technique to paint a brown or an integral domain mountain as foo. It's a very easy technique and you'll be able to create colleges textures and realistic looking mountains with this technique. Let's wait for that to dry. And after that we will be doing the same. And to this mountain asphalt, we'll be going with a darker tone of green. And we'll simply fill that up. The recent by a loudness techniques that your textures will look very real and settle. It won't be that prominent if you add these textures after you have applied the background tune, all those textures will stand out and they will be really prominent. This way you will get a better looking mountain. It will look more realistic. Are right, that layer has completely dried. Now let's go with a deprotonate cream. Make sure to call with one cone darker than the background Leo. Once you have got the right tone, simply fill that up. Be very gentle. Don't put a lot of pressure. Just follow the line of your mountain and apply the taco ton of green. Don't take your brush on the same idea multiple times at the paint in one go. So you can clearly feel the difference of the tonal values of the crane and the background and the clean and before crowd. You should be getting a similar look to your mountain in the foreground. I'll just dip my brush intellectual photo, and make the color a bit lighter over the middle so that there are different tones of green on the mountain. All of this will give you a mountain, a more realistic look and can see how our mountains sticking its shape and the wine and the background is looking so cartoons. I hope you guys are enjoying the process and I hope you guys louder technique ASCO. Okay. Now I'll switch to a multiple to warn and I'll finish the rest of the mountain. It is good to have different kinds of tones and the one on the foreground. So you have those textures and you have some lighter tone and between atom Dakota onto between everything that adds to the beauty of your monitor. All right, so this is where we have reached. We are done with the sky and a two layer of mountains. I really Lao how the mountains are looking. Just by adjusting the tonal value. Ricard, a beautiful look to other mountains. You can really get that sense of depth over here, just because we played that different tonal values. Okay, now in the next section, we'll be painting the medal. 6. PART 2: We'll start the same SAP can be used for the monitoring. Before crowned. We'll be going with a similar tonal value. And we'll start with that. I switch to my size number eight around brush. You can use any of your medium or because I will be applying paint onto the entire bottom. So which will brush as more convenient to you, you can switch to that. You can see here, I used to almost a similar color, the mountain and also where I started the middle, this is a dollar of Green I started with. Now as I come down, I will be making the color multiple. Instead of around group if you own, you can also use your flat brush. It doesn't really matter which pressure going would adding new medium drone of green. Now I'm switching to a taco tone and adding that in and blending those colors. As they progress, I will be making the green more and more topical. We don't really need a clean blend here. So don't worry if your background is not looking so smart. Now, I'm switching to a more darker tone of cream and I'm adding that in. So onto this background we will be adding lots of details. We'll be adding grass and those wildflowers. So don't stress out and don't put a lot of effort and getting a clean blend over here. We just need some lighter tones on the top and taco down towards the bottom. That is all what you need to focus on. Okay. Keep that in mind. Now, I'm going to quickly fill up the remaining Ada and this darker green. Okay, so that is a bad loan, Leo. Now, I'm gonna mix a little off integral into my sap green to get a deeper tool. And I'm going to apply that over the bottom. Mostly on the bottom, you can add literal on the top. Haskell, I will, flowers will stand out only if we have a dark background. Ve discussed this at the beginning of this lesson. So go ahead and add an inner for Stokoe tunes over the bottom. Okay, I'm nearly done with the background. Think alcohol with some more taco tunes. That will make the bottom up bit more Docker. You can see I didn't really focus on a small door even looking background. But that's absolutely okay. We'll be coming back with lot of details onto this layer. So it doesn't really matter whether you have a smooth blend or a rough blend. Now you can take a sharp walk or have a cup of coffee and come back once everything is completely tried. I'm really happy with the way we are progressing with this painting. I'm really loving those different tones of green. Ok, looks like everything has dr. Now, let's add paint onto that little house. As I mentioned at the beginning, I will be using permanent drought for this house. You can use either bond Sina or any other Brown along with permanent drown to add in the deeper tones, we will need Payne's gray or black. I'm going to fill up the side of the house and a lighter tone of Brown. And onto the right side, I will be calling with a darker tone. They're either mixed permanent drought and a bunch of Payne's gray adding Brown leave those windows, don't add paint onto them. My brush has a nice pointed tip, so it is very easy for me to apply paint along the line, leaving those windows. Feel free to switch to our detailing branch if you feel that is more convenient for you. Now, I'm adding a little of Payne's gray to my brown. I created a depot version of Brown and I'm going to fill that sheet over here. Again. I'm leaving that window. So we applied a light to two on the left side and taco button on the right side, which means there are more shadows on the right side. Okay. Now you see the same sheet. I'm going to add shadows over the roof lying. Right or ratio. Once you add in the shadows, you will get a realistic feeling to your house. So never skip those little details. Now I'm switching to a much more deeper Donald Brown, added more paint gray into my brown. And using that sheet, I'm going to fill up the roof and also those wind tools. Now when you're adding the page, make sure to leave a thin outline. We need a white outline for the roof and also for those windows. So just leave a very thin white cap along the outer Bordeaux. Now in a similar way, leaving a like little cab. Since those windows asphalt, you're seeing the same depot to one of these windows needs to be to tiny ass is quite far from you. So if you want to switch to a detuning brush, please feel free to do that. You can use your size number of zeros are any other branch which has a nice point at tip. Now using the same sheet, let's add some thin and delicate lines onto the walls. The spill make your house look more realistic. Just few of them. It should be very thin. If it stoke tick, it will go out of proportion. You should be adding something similar to this. Let's add onto the other side as f2. Alright, once everything dries, we'll be coming back to this house to add the final details. In the next section, we'll be adding the pine trees. 7. PART 3: All right, so this is where we have reached. Now it's time to add those pine trees. I'm missing things query. And the brush, I'm using a size number four, silver black or red fresh. As I mentioned earlier, this precious ionized pointed tip. So it is easy for me to add those little details as well as the boundary is we're adding now is quite far from you. It would be great if you can add smaller details. So it is best to switch to any brush retells appointed two or any of your smaller sized approach. So I'm going to start with the first tree. I'll start with the tree trunk adding a straight line. Now, I'm going to add tiny zigzag lines on either side. As I'm coming down, I'm making my lines more wider. And on the top I have some thin, delicate lines. We'll have to fill this entire horizontal line in pine trees. So if you have any technique which you're comfortable route, you could go with that. You don't need to focus a lot on making them look perfect. If an uncomfortable adding the trees, you can add something like this. This is from one of my previous class. So instead of adding a proper by intuition, you can just add some lines close to each other on the top and fill up the bottom part and the solid sheet, just like I'm doing on the left side. So if an outcome protocol with adding pine trees, you can do this. If you're going with a technique on the left side, don't use Plains Cree Korbut or darker tone of green. So what would be the dawn of green you used for your mountain in the foreground, you can go with 1to1 Dakota undocked. Okay. I hope you guys Tools, What do you want to follow? Whether it's the binary US or whether it's those lines. Alright, let's come back to the pine trees. When you're adding up boundaries go with different heights among them can be taller and some of them can be shorter. Now, I'm adding them behind the house. So the one before this event with the shorter height, now I'm going a little more taller one. I'm going with the next one. This one is little more tall. So it is accompanies no different heights. Make your painting look more interesting. If you're adding trees, naval add them in the same height or under same sheep. Always play with different shapes and different sizes. If you watched my previous class, that class, virtuous just before this one, it is all about drawing different kind of pine trees. So if you have taken that, I guess this would be easy for you. You just need to watch the exercise section. If you haven't watched that class, it will give you a better idea about how you can add different kinds of Pintrest and you're painting. So please do take our die class. If you are facing problems with your pain trees, you can see the way I'm adding the trees. I'm simply taking my brush on to either side. And I'm creating some messy lines and some scruples and some lines in between. It's not already properly detailed shape. Now onto the bottom, I'm adding some grass kind of shape. And then on the top and again, adding these pine trees. So whenever you have a transition from your meadow to your mountain, whenever you have a horizon line. It is always good to add these tiny lines to create a grass sort of a pattern, rather than adding a straight line, this will make your painting look more realistic and it will make that transition really beautiful. I guess in this painting, the only thing the bigness might find a little difficult for B, the pine trees. So in that case, you can skip the pine trees and add those lines which I showed you earlier. That is actually one trick I use quite a lot of families lazy to add pine trees. But that I can get done with the painting quite quickly because this boundary is when you are adding a lot of them. Intellect take a while. If you still want to go with pine, please try it out on a scrap piece of people and the Neil confident with the shape, you can't come back to your main painting. Okay, so let me quickly add few more pine trees on the side then I'll go with the other end. Now onto the bottom To make it look like grass, I will again add some random lines. Choose randomly atom lines at different intervals. Okay? So now you can see how it is looking like grass and you have pine trees behind that. I didn't add a straight line. So that transition is really beautiful. Now the same I'm going to do on the other side. Let me add some pine trees first. Then after that, I will be adding that grassy pattern on the bottom. I will be doing the exact same thing I did on the other side. And also if you look at the pine trees, I have added Hill. Overall, it has a nice shape, but if you look at it very closely, you can see how messy it. I didn't go with very detailed shapes. I'm simply adding some messy line. For all the trees. I started with a tree trunk, but is thin and pointed at the tip. And as I come down, it is little thicker, which doesn't really matter because we're refilling foliage over the bottom, which will cover up that. But on the top we need a point that tip. And once I have the true trunk, I'm simply taking my brush onto either psi and I'm creating some messy vines. Your line should be in a broken man. You shouldn't be adding straight and bullfight clean lines. You just need to practice it few times. And I think once you get the hang of it, it is going to be really easy. Few years back pine trees where the moles carriers thing for me. I never used to paint them. I will try anything and everything but not pine trees. I was so scared to even try them. But in between when I saw some amazing photographs with pine trees, I really realized. What am I missing in my paintings? How beautiful your paintings can be just by adding few pine trees it is. Then I really started working on my poetry's. I used to keep on experimenting different kind of pine trees, like in different ways. And I found out a way which is more comfortable for me. But that wasn't that perfect. You can see that in my previous class in the final section showing how I progressed from 2017 to 2020. I still don't believe my pine trees are that great. I will rated only an intermediate type that are still a lot. I can improve my pine tree. But for the time being, I am quite happy with it. When I consider the progress I've made in the past few years, I'm really happy with how voters looking right now. So if you didn't get your pine trees, right, don't worry. It just takes some practice and patients, gradually you're going to get there but then you shouldn't give up. Keep trying on right. We have some more area left and that that will be done with the pine trees. And then we will start with the MS-DOS was just the most interesting part of this painting. I'm getting a little impatient with the pine trees because I'm too excited to start with a meadow. I will quickly add some tree trunks first, and then I'll fill up all that, but some tiny message line. And we're nearly done. We have four more to cool. I'm really happy with the way of ah, paintings progressing. Those mountains and the pine trees and that green meadow and the little house, every tunnels you can draw cartoons. I hope you are also feeling the same way. So whenever I'm painting, whenever I'm really happy with the progress, I used to get up from my seat and I stepped back a few feet away from my painting. And I simply admit the beauty of it. I used to appreciate myself. And that little, a precision which I give myself will fill me up, put so much of energy. So more than the feedback and appreciation from a second person, you should be your first critique. If you feel proud about something you created, take-out that moment to appreciate yourself, feel good about yourself. Those little things will really help you enjoy the process rather than worrying whether I will have a beautiful end result. Your major focus should be on the process. Enjoy the process, enjoy the moment, and don't worry about the final result. I hope I didn't bore you with my philosophy. Anyway. And under the pine trees, you can see that beautiful transition from that mountains to pine trees. Once we finished a medal, that transition is going to be more beautiful. Now before they jump onto the meadow, let's finish up the house. We need a little more detailing on that. We need to clean those white lines along the roof. So for that I'm taking out my whitewash. You can also use your white watercolor if you don't have white squash. I have taken some wide crash on my palette. And all I'm doing here is I'm giving a proper outline to the roof, starting with this line. Now, in sort of wide Guassian approach, you can also use your bike. Chopin's. We just need to make those line through clean, no matter whether you use a brash or white children and that is totally up to you. Now, I'm switching to Payne's gray and I'm going to add some lines on the roof, just like we added on the wall. And along with that, I'm going to clean the shape of those lines. I added some of them look a bit. The CO I don't want tapped and line, so I'm just taking my brushed along the outline and making them look very thin and fine. Alright, now I'm going to add another thick line over here just to make that shadow a bit more prominent. Narrow over here. And just cleaning the shape rascal. Alright, so that is it. All right now the only thing left is the most interesting part of this class reject painting the marrow with those violet flowers. Once you have retrial in China. In the next section, let's start with the metals. 8. PART 4: So this is where we have read so far. We painted a beautiful sky, the mountains, the pine trees, and the house. Now it's time to start with the middles. Now throughout this entire section, there is only one single thing that we have to do and it is nothing other than adding grass have taken a range of wide crash on my palette and I'm mixing underdog sap green to that. So I have got a place to shade of Sap Green will be just hiding some freehand lines using different tones of green, will be adding lighter tones and we'll be adding taco don't Task2. So that is the main thing that we'll be doing in this section. We'll be filling the entire bottom part and 300 lines, which will represent graphs. Now, if you don't have whitewashed, feel free to use whitewater club in sort of stacked and mix a little of sap green to your white watercolor and get a place to tone of green. Now, depending on the color you have in the background, you will need to change the tone of your screen which you are using for the grass. For example, I have a very light 2m over the top, which is closer to the horizon line. So if I could equally lighter color when I'm adding the grass that matter be visible. So when I'm adding the graphs, I will be going with 12mm taco Dan will I have in the background? Now, all of the assets is much far from you will be adding only lighter tones. As we come down. We can play with darker and lighter tones simultaneously. But over here, we won't be adding much taco tunes, go with a little looser consistency so that it will be very easy for you to add those freehand lines. Now, keep on adding these kind of lines variable you want to, there is no limit, there is no rule. You can add as many as you want. It would be great if you can make your lines very thin and delicate. So switch to a detailing brush if you feel that is more comfortable for you. Now, add in as many lines as you want. It is just a freehand line. Maybe you can practice a grown-up scrap piece of paper. If you bring this to pick, you can add a drop of water. You can see the constituency of my pain. It is little loose. Now I'm adding those freehand lines. Now if an article to create those tiny, delicate lines, if you're getting declines, it is all key. As we'll be adding flowers onto this background. It formed BY that visible. So it is okay if you are getting to client, you can see there's just some freehand lines. Don't be scared at all. Just take your brush from top to bottom or bottom to top, whichever you are comfortable with. And add these straight lines without lifting off your brush. I know drawing freehand lines is little difficult for some people. That is a tendency to lift off your hand and between value or adding freehand lines. If you do that, you will end up getting broken lines. And it will take quite a lot of time. Keep on practicing, goes 300 lines whenever you get time. This will help you alot in your adult predicts how slow. It is very easy if you get the hang of it, you just need to keep on adding these lines without lifting your hands. You can add multiples of them in one go. We can see the way I'm adding them. I'm not lifting my hand and adding multiple lines in one go. Don't worry about perfection. Just keep on adding these kind of lines. You can see I'm just mindlessly adding as many lines as I can. So throughout this entire section, I will be adding millions of these kind of lines. And I will be filling up the enter your background to make it look really lush and green. Your lines doesn't need to be perfect. Don't worry about that. We just need to fill the entire background that these kind of lines, as I mentioned earlier, we will be adding the flavors and we'll be splattering while it over here. So even if your lines are not perfect, it doesn't really matter. All right, so the topic today is done. Now, I'm going to repeat the same for the bottom part. You can see the background has been tackled on the top, so we need to cool with a lighter tone. Otherwise it won't be possible. After we're done adding the grass using this lighter tone of green will be adding them using a taco. Don't ask f2. So depending on the color you have in the background, you can go with either darker or lighter green. I'm going with the light on of green first. Now I'm going to fill up the anterior border Media where I have that Dakota or have green. You can see the lines on adding now are much more longer than the one we added in the background. This is because these ones are much more closer to you and we will be adding those violet flowers here. So the whole focus of our painting as over this area. And we need to put a lot of effort TO compared to the background. Now, I will quickly add a few more line towards you. So you might have started with a much more darker green over the top and over the bottom may be, you will be having a more intense screen than what I'm having cure. So according to the colors you haven't the background, feel free to alter your color. You can go with darker green or lighter green when you're adding these lines, it doesn't really matter. We just need to fill up the enter your background in these kind of lines to make it really interesting. So that is the only thing you need to keep in mind. By that it's dark green or light green. It doesn't really matter. Here. I'm using white glass to make my green lighter. As I demonstrated earlier, you can also use white watercolor. You will be getting the same result. I didn't. These lines might take a while, so it will be little patient. How much will you can keep on adding them? Because it is going to make your painting look more lush and green. And it is really going to make a huge difference if you add in so many lines. So adding as many as you can. If you are bored, take a break and you can continue later, but please don't skip this step. Trust me, it is going to have a lot of impact on your painting. Which is which we added lines on the border. We added line to the top. Now we have that center area left. I'm going with 12b1, darker than the color I have in the background, and again repeating, adding ghost lines. So as I said during the beginning of this section, Hill, we are only going to add these lines. That is the only thing we'll be doing in this section. You can use the same technique to create different kinds of metals. You can go with a brownish tool. We just need to change your color. So you can start with a yellowish term on the top. And as you come down, you can make it more brown and dark. And you can add these kinda like you've seen, or yellowish or whitish tone. So just by tweaking the kalos and using the same technique, you can create different kind of character to a painting. The sort of looking more like a spring season where everything was so clean and nice. If your GZ color to more yellow and brown, You can easily create a sum or field interruptive levels. You can add some beet greens. Now, I'm going to add some more white and my grain. And I'm making the green more lighter. And I'm going to add more lines using those sheet. It is the same technique I used earlier. It is just that i'm going with a much more lighter tone. Thank you. Had asked me, dian says you can keep on changing the tone tofu green go with lighter green and taco cream. Okay, so this is how I will medalists looking right now. Now I'm gonna switch to a decluttering. And using that she'd, I'm again going to add these lines over here, mostly at the bottom. I cannot tell you how much I'm loving this painting. I really hope you guys are enjoying it too. When you're adding this dark color lines focus only on the bottom. We don't need a lot of them over the top. You can add a lot of them over the bottom area which is closer to your masking tape. And write about that you can skip some area and just add fuel. And over to the top you will need to add any. So focus more on the bottom-most part. You can see how colleges that eight hours looking with different tones of green. Now I'm adding a little over here. You can see I'm skipping through area and I'm not adding a lot of them over here, just like I added over the bottom. Following the same process we tried to allele adding as many lines as you want. If your background is more taco, you may need to go with a much more taco tool. Maybe you can use black instead of integral if that needs to be visible. So feel free to tweak your color according to your background shape. Okay, so this is where we have raised. Finally, I'm going to add some lines using a lighter tool, which is much closer to white. So I'm mixing quite a lot of white to my cream to get a very light, one of which is more or less a whitish color. And using that sheet, I'm going to add some final lines over the bottom, mostly over the area which is closer to the masking tape. We add multiple tones of green over here. Now we are going with something closer to right. We also added a tone that is closer to black asphalt. Now, everything is going to make your meadow look more interesting. You can see how everything is coming together, giving our meadow of better realistic look. They are nearly done adding these lines. I know it took quite a while, but trust me, it is going to have a lot of impact on your painting. That is a recent why I took it very slow so that you will really understand how it is coming together. You can go to the starting of this section just to see from where we started. And there we have reached. It's a beautiful progress. Are right. In the next section we will be adding the flowers. I'll see you there. 9. PART 5: Okay, let's start with the floss, the colour of the flower that I am going to add as violet. I already have Wilder my palette, which I used for this guy. The next sheet, I have as whitewash. If you don't have whitewash, you can use white watercolor. I took a lot of luck, died on my palate. Now, I'm gonna make this wide guage environment to create based or violet, which tried in the first fiction. If you like to add Bing class or if you'd like to add orange floss, it's totally up to you. You can change the vile achieved into any other shape. You can also use blue if you'd like to add blue flowers. So feel free to alter the color. Let's start by adding some full flowers, the whole flashy. And it's an assembler way. How I showed you on the first section. A very simple Flavel shape. And making the color a little light. Looks like the color I added as not true reversible. Okay, so this one is more visible than the previous one. It is more likely to either be playing with all sorts of violet. I will go with some taco violet sentence, I'm lighter wireless. So you're painting the look more interesting with all those wearing Toronto violet, go in a very random order and add some bigger ones and add some smaller ones, can also add some parts in between. I already demonstrated the shapes I would be using at the beginning of two section. So those are the only two shapes ever been seen. Oneness, a bot, and the whole flow sheets. Both of them are quite simple. It's a very easy sheep. Now, keep on adding them. Again. Add them at very random places. Make sure some of them are bigger and some of them are smaller. Also, we can play with different kind of wireless. Some of them can be lighter in tune and some of them can be darker. So play with all kinda varieties. You can see how beautiful those flowers are looking against though green background. I'm really loving them. I think, think travelers will also create. Maybe in another painting, I might try something flowers. Now let me quickly add few more floors. I hope you guys are able to follow the steps so far. All of the steps we use for the spending is quite simple. But overall we have a car, just painting. I'm going to kind of talk maternal. I'm adding some clever. You're seeing the shade asks for. So I have different ones or violet. It would be great if you can switch to our brush recess appointed tip. So it will be easy for you to add these rows. Also, if you want to go with a more detailed shape, you can do that. Minus VD, wake and trough. I'm not really focusing on the shapes. You can see here, how I play with different Toronto Violet. Also, I added some on the top and sum over the bottom. And this one has a tiny one. I'm playing the different sites successful. Here. I'm going with a BRCA1 though, taco one over here. So all these little things are going to make your painting look more interesting. Whether it is the tone of the values for that or just different sizes. Everything is going to make a lot of impact on your painting. Now, I'm going to add some teeny tiny ones. It is that bad shape I'm adding here. You can add in as many as you want. Also keep changing the tones are wireless. We added some taco ones. We'll be adding some lighter ones as well. So we added some tiny flowers and beta2 singlet taco tonal pilot. Now I'm adding some white and I'm making the Colombo lighter. Then I will be repeating the same step we followed earlier. I will be going around and I will be adding some tiny butts at random places. Again, see how I will meadow is slowly getting filled with the hauls, those wildflowers. To be honest, this is one of my most favorite paintings from the ones I have done so far. I was always a fine off nights guys on taco tones. But then this one has really changed my mind. I found where started allowing green landscapes expert. Ok, now I'm adding some tiny bots using white as food. Just go around and add them at random places. There is nothing like too many flaws. You can add as many as you want. The more you add the portfolio painting will be. Along with those little parts. You can add some Flavel cesspool. Just keep on filling of background with as many flows as you want. But right, and different Toronto violent. You can use the same techniques to paint a grassland scheme. You're painting will be more opaque. But then I try the same using gratia, kind of like the watercolor version. Because with vertical or it is very easy to create textures and it is very easy to modulate the different tonal values. Just like call we played with different green for the mountain and also for the middle. On the top we have a lighter green down over the bottom we have a darker green. But with garage to get different tonal values will have to add white crash into it. So everything will look more. Base two, you won't have that transparent look which watercolor has. So I enjoy the watercolor Washington, the washroom. You could try the same and guage Haskell just to see to yourself. So I have added enough levels and bots. Now what's time to add those teeny-tiny floss and the background. Or to the bottom also, I will be adding these dots using white or maybe a lighter wildlife, which is very close to bite onto the background, will have to add some violet plots, just like how we did in the exercise section. Take your bridge vary randomly and are these teeny tiny white dots in between the levels and the graphs we added. Now I'm switching to a lighter tone of wireless. And I'm going to add these teeny-tiny flags in the background. We need to add quite a lot of them in the background just to make it feel like there are flowers far away. You can add them in a very scattered Mano, some areas you can create a cluster as you can see, I'm just taking my brush and I'm adding these dots at some places and making a group of them. And some places I'm just leaving some dots in a very random order, then you are going away. Which means when you're closer to the horizon line, go with the lighter tone of wireless and add in the historic pattern, just like we did in the exercise section. So hold on. This kind of cluster i dot just to make it look like. We added quite a lot of violet flaws. I think we'll add some Vitis foo that Ms. Quezon, some white squash. And I will add some claws using whitewash as we go in a very random order and add some dots and some clusters in between. The same way how we added the widest floss In-between. I tried splattering some white but I wasn't really happy with that. So that is why you are seeing some fight flight was in between. But ignore that. It is better to art. Why do using your brush just like this? Okay, the bad, we're done with the flavus news. We added quite a lot of them. We added some flaws and bots over the bottom and alter the background where you are closer to your horizon line. We added some dotted pattern to replicate the floss far away. Now I'm going to switch to reintegrate. And just like we did in the exercise section, I'm going to add stem for all these flaws. I will be adding a dot at the middle, a messy circle. Then I will be adding gets tim For all the flowers and bots I have drawn QIO. Go around and pick all the flowers and bugs you have added and draw this line. And also that daughter, the Center and also at the bottom of this. But this is what makes your painting look complete. So just go around with a brush and pick all the flowers and add this black dot and the stem. You can already see the kind of difference that black dot on the lioness making it is giving a very fine looked to a wall. Flowers and the painting of starting to look complete. Which is because how few more flash on the left side? And that will be done with a bowl first-class protect. The second one is going to be a much more interesting one. We are going to paint a nice guy, but some red flags. Just by comparing the right and the left side, you can easily understand how important is that final touch only flows wherein really defined, even though we have added the shape, you can see how it is getting a very well-defined shape and we are adding that black dot and also this Tim. So this is the main reason why those final details are very important. Ok, they just have very few left. I'll go around along the ones which are left. And I will quickly are this line. Now the background. I'm simply going to add some lines and some dots just to make that transition look very natural. Just few dots over here. Not a lot to us to fill in a very random order. Travel. And the time we're done with the whole first class project. I would like to a 100% happy with how this turned out. I'm really loving the colors, the sky and the clean mountain. So this is one I tried earlier, but I didn't really like the transition from that water to the middle. It has got a sharp transition. We use the same technique in Bordeaux paintings, the mountain, we use the same technique and we have a tiny house. It is just that I introduce a patch of water in between. So we'll maybe you can try out the same in a different manner. You can add some nice place to blue water, which will make the painting look even more beautiful. Look again, look for some reference photographs and incorporate that in your painting using the same techniques. Okay, now I'm going to remove the masking tape. Winnable. You're removing your masking tape. Please wait for the painting to dry completely. Otherwise, there are chances that your people can drop off and it can come along with the masking tape. You can also apply blow dryer along the masking tape, which will loosen the glue. That is another way how you can do movie or masking tape without spoiling your people. Okay, so here is the final painting. I hope you all had a great time painting those beautiful green landscape. I entitled it. I'm really loving those violet floss and the green mountains and the mental. 10. Project 2 - Magical night of Red Blooms: I really hope you all had a great time being first-class predict. Now here's the second one. This time we are going with a beautiful night sky and a floral metal glowing with card use red flowers. Let's quickly have a look at the colors. Now. Don't worry if you don't have the exact same sheet or the exact same brand, and it's absolutely okay. You can go with any kind of colors you like for your night sky. For this one, I used cabal cream and integral for the sky. You can see on the top I added in 2q2 and over to the bottom, which is closer to the mountain, I used cabal crane. These are the two sheets I used. The cabal is from PWC and the integral is from Somalia. Again, the brand doesn't matter. Feel free to use whatever you have with you. Now let me quickly spat out the colors. Cobalt chrome is a beautiful place to cheat and it is one of my most favorite color to paint. Night sky, especially northern lights. You can see how cards is that colors looking. On the top, I have integrals. So this will be the combination I will be using for my sky, cobalt chlorine and integral. The board maker Garcia's company mission. And I have used written quite a lot of my paintings. If you don't have in detail, you can go with any other darker blue area caught. And if you don't have cobalt chlorine, you can use turquoise blue. It is absolutely fine to cope with any color choice of yours. Now for the mountain, I will be a game using paints query. You can either use paints grey or black. And to Adam the details are those textures I will be using whitewash. You can either use white guage or whitewater color average beginning with the very intense and Paul don't have paint query at a safe to go with black, but don't worry if you don't have Payne's gray. So that's the sky and the mountain. Now let's have a look at the meadow. For the meadow, I went in with viridian green. I didn't want to use Sap Green, which is more of a yellowish green. I wanted something which is closer to blue. So the one I used here as viridian green, it is from PwC. You can see how gorges that background green and the red classes looking. So this is the shade I use for the background. Now if you don't have brooding green, you can make Sap Green and indigo, or sap green or any other blood to get a bluish green. Don't worry at all. If you don't have a validity and she'd let me quickly show you a close fetch. So here is the swatch. And took gorgeous green. I guess all of you have viridian green. It is also kind of a common color just like SAP clean it comes in your watercolors set most of the watercolor subtask. But if you don't have one, feel free to mix any kind of blue to your Sap Green and get a bluish green. Ok, so now let's check out the color for the flowers status only thing left. I used to read sheet for the flowers. The wonder used is called payroll dread. It is not a very common rate. Now will be adding the flowers very similar to the ones we added a layer just like this one. Again is a very basic shape we are going, but so we'll be adding flowers like this over the bottom and in the background we will be adding some dots, just like how we did earlier. We'll be creating some daughter pattern. We'll be adding three of them in before ground aswell in-between the flowers. I just had a while achieved here. That is why I am showing in violet, but we'll be doing the same. And blue, you can use any blue that help God. You just need to mix up brinjal, whitewash or whitewater occur. And these dotted pattern, we use the same and the previous painting. You can see all these patterns. Hill will be adding them using this technique. So we are just pressing oval brush against the people and creating dots close to each other and creating groups of them. I will be using royal blue. Feel free to go with any role that have caught. Now other show you that colleges read the soonest also from PWC. This is the shade. It is called payroll rate. I'll just remove the cap and show you how intense this colors. And please note this color is not an opaque one. It is a transparent sheet. But we will be using this anabolic thicker consistency. We wouldn't be diluting it much. And that is how we will be making those bright red flowers. You can see this intense, bright, bold red. That's a very gorgeous color. Okay, so this is the one I will be using 40 floors. If you don't have a similar color, it does, absolutely. Okay. You can use any of your warmly and dread Scala trait or any other red and orange you prefer for your flowers. Now, if you don't want to add such intense levels just like carpeted earlier, you can make your color to a pixel one by mixing white watercolor or whitewash. And you can add the flows using that sheet and picking a little from the tube itself. And I will show you how we'll be adding the flowers, will be adding them in a very similar way. It is just like how we did this one. The only difference is that at this time I will be adding more petals, Stan, the violet flower. The basic shape of the flower is the same. You just need to add some petals close to each other without much gap in-between. For the wild, one beats simply added six or seven buttons, but a little gap in between. But this time we're going in a similar arrangement. You can add an ask many flowable sassy want. We'll be adding smaller and become floors. And also just like the previous one, we will be adding some parts also in between. So that is the flour. Once we have added in a four floors, but we'll be adding that messy taught to the centre using paint gray or black. Just an irregular shape. And we'll be adding this term again, same like the previous one. Also some freehand lines like this. Okay. So that is how we will be adding the flowers. So I will Meadow is going to be accompanied none of these dreadful levels and also that dotted pattern retried earlier, this one here. So let's go on to be a combination of these. This is just like the previous wildflowers, that is going to be very easy. Now the main difference from the first class predict and this one is that we won't be adding that grass lines. We will be adding travels directly onto the green background we created. Do they understand we won't be adding any other lines. So again, save some time with that because that took a lot of time. So here is my woman in trade. And here as permanent orange. As I mentioned earlier, you can go with any of your red or orange sheet. It doesn't really matter. I think it is better if you could try the color on a scrap piece of paper, being the patch of viridian green. Are any other green that you are using for the class critique and add some flowers onto that using the orange sheet of the red cheat you choose. And just as tau the colors, how's it looking without the Einstein did not have the level of the subunit. Just give it a try and decide on the color that you want to go for your class project. 11. PART 1: I hope you guys are clear with the techniques we are going to use in this class, predictor and also the colors you will need. Now let's start with the pencil sketch. We just need to add a horizon line and a mountain. That is the only penciled sketch. We need to add an agony horizon line a little below the center of the people. So that is your horizon line which will divide your Medal and the sky. No, I'm adding the mountains onto the left and adding a low-lying one and onto the right side and adding a tall mountain. And not really happy with the size of the mountain saw, I'm shifting my horizon line a little more dull. Okay, now I'll just erase off the other line. Alright, so that is a little pencil sketch. Now using my two-by-four Enge wash crash, I'm going to apply an even could a water onto the sky a clean even coat of water. Geospatial because expresss and applying even colder water onto the entire sky. Make sure there is no Porter water in between. Just keep running your brush across to make sure the CTO waters even. Alright, so I have applied a CO2 water onto the sky. Now let's start adding the pin. As mentioned in the previous section, the two sheets I'm going to use for the sky as indigo and cobalt green, feel free to change the colors according to orders available with you. If you don't have cobalt chlorine, you can use two requires blue as well. That also works great for the sky. My backbone has started to dry, so i'm applying another Lakota water on top of that. Ok. So we are good to go. I'm starting with the taco tone of integral, and I'm going to apply this onto the top of the vehicle. We need a darker tone on the top. Make it as dark as possible. You can see the way I'm adding the color amp, simply dragging the pain from top and almost taking it to the center. And I'm leaving it there. I'm not taking it till the bottom. Okay, so that was integral. Now I'm going to wash off the plane from my brush and I'm going to switch to cabal queen. Make sure your brushes properly cleaned. We need a very bright and fresh to him over the bottom. Now adding new cabal cream, you can just apply that on top of the mountain. It is ok because we'll be going with beans grey or black for the mountain. So by adding the paint, I intentionally left some wide gaps in between. And now I'm simply going to tell my people in either direction. You can see the way the penis floating into each other and you can see those white cap. It will give this guy a nice glowing effect. So I applied indigo from the top and I applied cabal going from the bottom in-between a lump-sum white caps that I kept holding my paper in either direction so that the colors will float into each other, creating a very natural and organic blend. So these are the two colours are used. Indigo and Coval careen into quotes from Somalia and Coval greens from PWC. And here are several sky. You can see the beautiful blend we got there. Now let's read for that too dry. And once this guy drives will splat to the stars. Flatten the Strauss, I'm using whitewash. This one is from riled talents. It's a huge job because I'm somebody who does a lot of nights cave paintings. And I really need a big tube to solve high. So if you don't have a garage, you can use your whitewater glow. This would've physically ML tube. I always prefer going with the Guassian tubes rather than in bottles because I have the habit of dipping my brush into the bottom and spoiling the entire guage. It had happened with me and that is when ice was two tubes, but doable. It is very easy to squeeze out the right amount of paint you need for that particular time. You won't waste a lot. But with bottles that is very difficult to get the paint out. So that is the reason why I always prefer tubes or world Barton's. Okay. I was chi has completely dried. Now let's go ahead and split other stars. So I'm gonna drop in a winter water onto my squash to get those teeny tiny stars you're paying to be in the right consistency. It shouldn't be too thick, nor to lose. The consistency should be something in between. If you are someone who does a lot of night sky paintings and if you're confident that your consistency, you can go ahead and slide other stars. If you are trying to splattering technique for the first time and if you're not too sure about the consistency of your paint, take out a paper towel and just W brush on the people travel a few times. This will remove the excess amount of water from European and we'll make it perfect fourths flattering. Now, I'm gonna tap on those Grolsch using another brush and I'm creating those Chinese tires. Make sure your background has completely dried. Keeps blood train, and add in as many stars as you want. Concentrate more on the top. Barry had taco tones. I know get done with this toss, which is one of my most favorite part of painting any nights guys. I don't know, this is very relaxing for me. I really enjoy adding this task. I think with that began, stopped this flattering now using the same whitewash beyond, I'm going to add field because stars just go around and add as many as you want at random places. All right, so that is a sky. Now let's start painting the mountain. The mountain, amusing, black, speech, black by Peter. Do you see you can use lamb black ivory plaque or any other pictorial caught me when you can use pinch CRE Along with black to add those snowy textures, I will also be using whitewash. So I already have wide classroom amperage and I'm mixing that with a little love black to get a grayish tone. Now, I'm starting with a grave for the mountain as they come down and we'll be switching to black. So on the top you will have Li2 tombs and over the bottom you will have taco tombs. And after we have done the base layer, we will add snow on the top using whitewash. Now, I'm using white guage. Interrupt that you can use your whitewater. I know I'm repeating this quite a lot that I'm just making sure you all are on track. I don't want you to feel better just because you don't have a whitewash. So maybe one more time I've interpreted it is okay to use your whitewater Geller. Don't worry if you don't have white gosh. Okay, so that is great. Now I'm going to switch to black, and I'm going to fill up the remaining either in black. Now for the mountain, you don't need a clean blend. You don't need a gradient from gray to black. It is absolutely OK to have a very rough finish for your mountain. In fact, that is what we actually mean. Once we have added the close, we'll be coming back with whitewash and we'll be adding more textual onto this mountain. So it doesn't really make any sense to have a perfect blend with the background, but we just need great onto a laptop and black Tuan told at the bottom. There are several mountain. It is looking so car just oddity and loving the mountain akin stoa, compile Queen sky. That contrast is rarely pure decode. Okay, I washed off the beans from my brochure. Now I'm switching to viridian green to paint the meadow. So this one is from PWC. This is the one I will be using for the middle. If you don't have it in green, you can mix any blue to your sappy to get a bluish green. We just need some kind of bluish green and doesn't really matter whether it's viridian green or any other green. So don't worry if you don't have routine Green. Okay, let's start with the middle. I have switched to my flat brush. I'm going to apply but it in green are where the NDA area left at the bottom. Just to leave when Russia's literally in green. We'll be adding darker tones later once we have of obese Layer3D. Now at the horizon line, very mountainous meeting the middle, you can just merge the green into the plaque just to make that transition a little smarter rather than having a strong separation. So I'm using my other brush and I'm just marching that crane into the Black Mountains in destiny to be a smartwatch. Just march that color into the mountain so that everything looks seamless, okay, and baggage with it in green. Now, I'm going to fill up the bottom remaining area. I'm just simply filling that out. Ok. So after that, the entire ADR embedded in green. Now to add in the docket dorms, I'm switching to integral. It's the same integral I use for this guy. I'm squeezing out a level of integral onto my palate. Now before the background drives, let's upload that onto the bottom right over here to get those taco tones. When we have a really dark background, it will make our water travels more noticeable. That contrast will really have a lot of impact on novel meadow. So concentrate on the bottom part and add more taco tones. And also ask they are painting a night sky. It is good to go with a darker background. It is not a day scene. It is good to go with a darker tones to make it look really like a night scene. I think I will add some more taco two onto the bottom 2-tuple here at the EDR, closer to the masking tape. Okay. We are done with this guy, the base layer for the mountain and the mental. Now it's time to add in the detail. First, let's go with the mountain live allowed the finer the guilt onto the mountain first, then we will go with the middle. All right, everything has completely dried. Now at this stage you will need a people to our, we are going to add some dry brush batons onto the mountain using whitewash. We'll start by adding some lines along the mountain profile. And after that, we'll switch to dry brush technique. I'm loading my brush with whitewash. You can also use white toward the goal. Now I'm dabbing my brush on our people toward to remove the excess amount of water. This will ensure that my paint on the brush is really try and I am going to get billed for drivers batons. So just concentrate on the top and added some lines along the mountain profile. You can just follow the line. You don't need to take the line to the bottom. You can start with some met in the middle, just like I'm doing cure. Just few alliance but you're randomly. You don't need to cover the entire top part in lines. Now, along with this, you can also add some dry brush pattern. You can see the lines I added here is really try. It is not a solid line. The truckers dabbing your brush on our people to follow. So it is very easy to create these kind of dry brush strokes and batons. Because when you're W British honor people to a world that people total absorbs all the water condense from your brush and it will make your paint on the brush regularly dry. Once you have that dry paint on your brush, just crash your brush on the mountain and you will get these kind of dry brush pattern. Now don't go overboard. They just need a few here and there. I will finish up the mountain by adding a few more lines on the top. Goal with very minimal lines. And we don't need that very bold. By Task2. You can see the way my mountainous looking does very subtle. Or key badda sit. Now in the next section, we will be painting The Meadows. I'm really excited to see you all there. 12. PART 2: Okay, let's start with the middle. We're going to start by adding those flowers in the background. We are going to use the same technique we used here to create these flowers in the background. So by that policy movement, we'll be creating cluster of dots like this. And that will be the flowers which are far away. Ok, let's start. For the previous painting. We used a paste, a little violet. Now for this one, I'm going to use a basal blue. For that. I'm going to mix his royal blue and alert low whitewash. You can use any blue diarrhea. Got. You just need a tiny drop of any blue. Now onto that, adding some bytes, squash or white watercolors, and create a nice base to a blue. Now to your brush in a policy moment. And add these tiny dots close to each other and create a cluster of levels. You can see the way I'm adding them. At some places I'm going in groups and some places I'm adding some random dots. So we'll go with the completion of groups and scattered dots. Let's go with a more lighter tune. The tour of blue event in first as not really the subunits or I added some more white into blue and make the color more lighter. So just by looking at the colors you have in the background, decide on the tone of blue. You wanna go what, what will be the tone of blue you're going with? It should be visible from the background. That should be your thumb through. It doesn't really matter whether you're going with a darker tone of blue or a lighter tone of blue. It just has to be seen when you add them. So go ahead and quickly fill up the background at these kind of talks. Right. Now onto the background, the ADI, which is closer to the mountain, you don't need to add a lot. But the Ada, which is closer to the masking tape, where we will be adding those red class. You need to add a lot of them. So concentrate more on this area. If you want, you can use the splashing technique, asphalt, but make sure to cover your mountain and the sky when you're doing that. And see we have a very dark background. The PLO patron's we are adding. And I'll slowly falling into place. So this is where we have reached and really loving the bottom area there, the blue flows are really visible. I'm going to add some more over the side. You can see how horrible and messy my patterns are looking, but that is absolutely okay. Really be adding those bright red flowers on top of this, which will cover up all these. We just need to see those blue patterns and between the red floss, the shape or volume or adding cure doesn't really matter. You can see the way I'm adding them over the bottom. I'm just scratching the brush on the people and creating some Pico pattern so that I can add a lot of them quite quickly. Now, I'm going to become much more lighter tone of blue and mixing knowledge more vital to the blue I created earlier. And using that cheap, I'm again going to add some more pattern. Now, these ones are really visible. So you have different dawn to blow in your background. You can go around and add as many as you want. So I use two different tones of blue for stay vented with them. More tackle tool. And I added daughter Patton's concentrated more on the bottom part. I didn't add much in the background, but if you want, you can add more in the background using detailing brush or you can splatter sum onto the background aswell, you're adding those patterns in the background, make sure they're not too big. Along the bottom where we will be adding those red class. I went in that huge patterns. This is just because they will be half covered with dust levels, but this is not the case in the background. We won't be adding flood was there. So you should be going with very small patterns. So the background is ready for the red flash. In the next section, we'll be adding them. 13. PART 3: Okay, we are on the final part of this class project. And in this section what we're going to do is we will be adding those red flags that despite all right, I squeezed out a little on my palette, you can see the intensity of this color does reordering bald. I'm using my sizable for round brush by silver black velvet plush. Now using this brush, I'm going to add levels over the bottom. You can see the intensity of this color. It is really Bolden, bright. It's actually worth the bi, you could check out by an old rate. I have seen many others using the sheet to sign their paintings because it really stands out. And that is the main reason why I took this to add Flavel assessment because it is really indents and it really catches your eye. At the beginning of this class project, I already showed you how I will be adding the class. I had demonstrated them for you. So the wildflowers be added in the previous class predictor. We didn't add these mini petals. But here we are adding quite lot of patterns which are close to each other. If you still have some doubts, you can check out the first section of this class project, FM adding the flavours and this dark background. I'm not really sure whether you are able to see better by Pareto. So you could check out the full section where I have explained the techniques to see the shape of the flower. And also, if you don't have the same sheet am using pure feel free to cope with vermilion dread or Scollon tread. Or if you want to go with any other shape that is also up to you, but go something which is very bright and bold, that it will be the center of attraction of your painting. If you look at this painting, everything else other than the floor as looking very subtle. And that is making the levels really stand out. Now, I will be adding levels only over the bottom where I have added that taco tune. You can see the flower I added now was quite big. I'll be playing with different sizes for the floss. Some of them will be smaller and some of them will be a really big. This will make your painting look more interesting. You can see the one I added now it is in a medium size. And the one now I added as quiet small. And again, I'm going to pick a flower. So keep on playing with different sizes and add in as many as you want. The one I'm adding here is in between those blue pattern to be added. And you can see how gorgeous that Ada as looking with a blue background and that red flags sitting in between. It is to create this effect. We added those blue patterns and the background first. Okay, now let me quickly go around and add some flowers. I'll be adding bigger and smaller ones. Our guide. So this is where we have reached. I have added quite a lot of flashover dupatta. Now I'm going to add some small levels. So this will be my limit. I want to be adding Amy floss beyond this point to get that sense of distance in your painting, it is very important to play with different sizes. You shouldn't be having big flowers or what this idea, you should only be adding smaller ones. You get bigger ones over the bottom. So you will really get that sense of depth in your painting. I'm really loving the way that's going to screw christening, especially the red is giving a whole painting on new dimensions. I think we can stop the flows there. Now I'm switching to black. There's gonna speech black by PwC. You can use any of the black you have got. I'm going to take a pinch of this black. And just like how we did in the previous painting, I'm going to add a tiny dot at the middle of all these flowers. And also I will be adding stem using black. Go into very poor tone of Black without adding a lot of water. Because there should really stand out from that read Flavel. He can see how coral just several flows are looking at that black dot in the middle. Okay, and go around and add the dots to all these flowers here. And also add this term just like we did in the previous paintings. Which is which we're nearly done with the painting. We just have few more floss to add the stem. Just feel smaller ones in the background. You can see how Karl just those levels are looking. Once we added that to that black dot, those little touches made a lot of difference. Have taken quite large of reference pictures from flash to give it a try. These two Class Predicts has changed me quite a lot. Painting Meadows is my new favorite thing. Okay, now I'm going to add few more flows over the bottom. I feel like I can add some more in-between variable. I have some gaps. So I'm starting with red and I'm adding some flowers. And after that I will add that black dot and the stem. And that will be done with the whole painting. Okay, so if you have some gaps in between and if you want to add to move floss, You could do that or you can stop at this point. So that we are done with double painting. I just went around and filled some more red flags variable, i had some gaps. And here is the final painting. Let me remove the masking tape and show you the final result. I hope you guys enjoyed painting this night sky and straight travels. I really enjoyed it just like the previous one. So several final paintings. You can have a closer look at those flowers. I'm really loving it. Give it a try and let me know how you felt painting these red flowers.