Getting started with Gouache - A Beginner's Guide to Gouache Landscapes | Zaneena Nabeel | Skillshare

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Getting started with Gouache - A Beginner's Guide to Gouache Landscapes

teacher avatar Zaneena Nabeel, AURORABYZ - ARTIST AND INSTRUCTOR

Watch this class and thousands more

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 41m)
    • 1. Welcome to my class :)

    • 2. Gouache Overview

    • 3. Materials you'll need

    • 4. Tips & Tricks

    • 5. Techniques

    • 6. Painting 1 - HAWAIIAN DREAM

    • 7. Painting 2 - GREEN MEADOWS

    • 8. Painting 4 - LAVENDER FIELDS

    • 9. Painting 3 - DESERT MOUNTAIN

    • 10. Painting 5 - COUNTRYSIDE

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About This Class

Gouache is a popular medium for its opaque and matt look. In this class we will be exploring the medium Gouache to the fullest. We will learn about the medium, tips and techniques and once we are thorough with the techniques we will start with our main projects.

I’m teaching 5 unique mini Gouache landscapes which can be easily followed by artist of any skill level.

If you are someone who is looking to get started with gouache, especially landscapes this is the perfect class for you. 

Meet Your Teacher

Teacher Profile Image

Zaneena Nabeel



Hey there! Myself Zaneena Nabeel, an architect by profession and an artist by everything. I'm originally from India, currently based in Dubai. I experiments and enjoys all sorts of medium. For me art is a therapy and I find immense happiness playing with colours.

Since early childhood I loved to draw and paint. when I joined for my architecture studies I totally gave up on art as I got so busy with my studies, but the love for art was growing deep inside me. Once I graduated and moved to Dubai I started investing little of time on art. I started visiting art events and talks and realized the endless world of colours waiting for me. Within no time I took my tools and came back in action and started an Instagram page and here I'm :) 

Now I conduct local/... See full profile

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1. Welcome to my class :): even though watches popular from a very long time. It was very recently I caught into this medium. It was a very bold on. Was it'll medium? If you use a trick, you get a nice go big matte finish on. If you water it down, you get something more like or to close. It's creamy consistency and opaque. Matt, look as something you cannot really achieved by any other medium. Hello, everyone myself. Zanoyan An appeal. I'm an artist and an instructor currently residing in to buy orginally from India. Today I'm gonna take you through the medium quash on. We will be learning how to paint five easy quash landscapes. Don't worry. If you are new to the medium quash, I will be taking you through each and every material you need in detail. I would also be sharing the tips n tricks, which I learned while losing Quash on will also be exploring some techniques before we get started with our main projects, the glass is organized in a way. You get familiarized with a medium on also throw with the techniques before we get started . Whatever means projects each of the projects will be doing in this class is big differently on I have explained everything in real time so that it is much easier for you to follow along. This class is going to be a complete guide for everyone who wanted to get started with quash, especially landscapes. You already saw the fire different meaning wash landscapes which we will be doing into this class if you are interested on. If you want to give it to try, join me now without a second thought. 2. Gouache Overview: you might be already familiar with the properties of Quash. I'm not making it longer. I will quickly give you an introduction about quash Gua. She's an opaque medium once dried tastic, very clean matte finish That is one main reason by many artists who does illustration. Choose to work with squash to get a lighter tone off the color. You won't be adding water. You will be adding wide quash into it. So this is the main difference between border color and quash, and this means other than any other color, you will need an extra two wide quash. So it is always a great idea to get a big portal are a big tube of white quash. So I have this separate bottle abide, quashed by royal talents, which I normally use. I tried to reduce the usage of the tube, which comes in the set so that it stays in the set on. I won't finish it quickly. Goulash is a medium which is something in between watercolor and acrylic. If you add more water into quash, it will act more like watercolor on it will lose its capacity. It is a water based medium, and for all these reasons. It is called a scope a cortical, another main advantage of working with quashes that dries up very quickly, compared toa particular and click, which means you can go with multiple layers in a very less time. And this is one main reason why it is a great choice for clean air painting as it dries up pretty quickly and you can save up a lot of drying time. Watch is highly pigmented, and then it dries. It leaves a very chalky Matt look as it is very opaque. You can cover up your mistakes by going one more layer on top of the base layer. This means you can work with so many layers. You can go light over dark or dark over light. Either way, it's possible that the wash and that's a quick overview about Gosh, I think you're good to go now. As to progress, when we do all the paintings, you will get to learn a lot about gosh and you will have a better understanding about this meeting 3. Materials you'll need: the time I could look at the materials you'll need to follow this class, as I always mention it is absolutely okay not to have the exact same brand that I'm using here. You can use any brand or any other supply Daddy have card, which is kind of similar. All right, let's talk about the color first. For tourist class, I will be using this 24 color gwar set by artists. It is not 100% artist. Great quality, quash color. It kind of stays between the student grade on art is great, but I kind of loud the set for the right of colors they have and for the price they offer. I have another set of God from Winsor and Newton, which is much, much, much more expensive than the artistic watch. The quality of the colors are more or less similar, so I haven't really faced a problem with our TSA. Gosh, they have a nice, creamy consistency and they're well pigmented. Feel free to go with any brand of Gar. Study hard court. If you don't have glass, you can also use poster colors on If you're a beginner who was looking to invest on a basic course. It I would say Artist is a great choice. Now let's talk about the paper. I will be using smaller pieces off Qadi people. It is 100 books in court and hand meat or Tikolo paper, which doesn't have much texture. And it works great for Gosh, it is better not to go with the rock paper, which has a lot off pictures. It will be difficult to blend the colors. The best is to go over the hard pressed watercolor paper, which is quite flat without any textures. So it is very easy to blend your clothes. I'll be working smaller sized papers. This is roughly and a six eyes. I just hand two or a four size of cardy people into four pieces on that is the size you see on the screen. So, yeah, feel free to go with any kind of paper that you have caught. It doesn't necessarily need to be or not. Is great quality paper. You can go with anything. Paper which doesn't have much texture, are grains. All right, now, these are the only two bridges that I will be using throughout the entire class one a size number eight flat shadow brush on the other one. A society's number four round brush to add in the tiny details. Gorgeous and recoil. Any specific set of brushes. You can use your water Globe rushes for your quash projects. Aspirin. Get a medium sized flat brush and round brush. We'll just need those two brushes to mix your colors. You will need a pallet. I will be using this white ceramic plate. I always prefer using ceramic pallets over plastic pallets just because it is very easy. Tickly and also it doesn't stain the palate. There is no problem in using a plastic pallet. It is just started as much easier to work on a ceramic palette. Maybe you could just grab a plate from your kitchen and turn it into your palate. If your palate is already filled with watercolor hand, you don't want to wash it off. Just go crab or this possible plate on. That also works great asset palette. I won't be using a masking tape. I will be leaving the site acid er's so if you want cleaner side, you can use a masking tape. We'll need to add some very light sketches, so you will need a pencil andan eraser. Now, along with that, it is very important to have some people trouble always next to you. You can also use a cotton cloth instead. Awful people travel before we start with our main projects. We will be exploring some simple garage techniques on. For that I will be using this sketchbook. This is a very basic sketchbook and doesn't have any print. I caught it from a local stationery store. The paper is quite chicken. It doesn't have any texture. This one doesn't work a watercolor, but it works grateful. Gosh. So grab any off your sketchbook, which has some tick paper For about practice fiction, you can also use the same paper which you will be using for your main project. Last but not the least. You will need two jars of water. One has to stay clean on the other one. A. Students are the pain from rush and that's it. Go grab all the materials and join me in the next video. Let's get started 4. Tips & Tricks: Before we begin, let me share a few quick tips n tricks with you all, which will help you as we progress, always trying new Spain. But it's freshly squeezed out of the tube, even though gosh react rates where new ad in water. The kind of consistency you get with the freshly squeezed paint on reactively to pain the slightly different I have always felt. The paint looks more fresh and opaque when Inco, with freshly squeeze paint compared to the dry paint registry activated with water glass, gives the best result of a non diluted. When you add water, glass loses its capacity and will start to look more like watercolor. But sometimes it can be really difficult to blend the color. When you're going with the paint, which is directly squeezed out of the tube, you can see here I have got rough. Just so what you can do at those cases are at a drop of water to your paint. In order to get a smoother finish, you can see just a drop of water added a lot of difference. The way my pain this active, I'm not getting those rough edges. My pain is looking very even and smooth right now. So whenever you feel like you're painters to dry and you are not able to get US motor blend , go ahead and add a drop of water. Gosh is known for the opaque and Matt look on also for the multiple layers, which you can apply without disturbing the base layers. When you're going with multiple layers, it is always a great idea to wait for the base layer to try. You may not get the desired result if you really apply your paint before the base layer tries. I have painted a patch of ultra marine blue here. Now let's see how it would look if I apply some details onto this when it is wet and when it does try. So here I'm applying the white details on a wet peace layer, and you can see the kind off color that I'm getting here. It's not too opaque on. This is the main drawback. The top layer may not look big if you're applying it on a wet base layer, and also sometimes the pain might come off leaving an ugly mark. Now my background has tried on. I'm gonna repeat the same thing. You can see the lines that I'm adding now are looking more opaque. I've ended with the same pain, the same consistency. The only difference is the backbone has dried on. You can see the lines that I'm applying. This really opaque, even though watch doesn't require any specific set of brushes at its best to go with your synthetic hair brushes, which you normally use for your watercolor projects, I don't recommend using natural hair brushes as that isn't that easy to blend the close using the natural hair brush and sometimes depending on the bristles at my can leave Brechet marks to take out does in the daycare bridges, which you thought as useless than you tried your watercolor techniques. They might work perfect for your quash. So go give them a try Big wash before discarding you. See, a good quality paper has a lot of impact. This doesn't mean you need to go with an expensive artist. Great paper, unlike watercolor glasses, a lot more forgiving medium. When it comes to paper and brush, the only thing you need to consider is the thickness and the texture of the paper. The paper sample you see here as 100% court on watercolor paper, which has a lot off texture on, you can see I'm not able to blend the color much easily. As my pain is getting trapped in those rough grains and textures. It isn't that easy toe. Get a smoother blend in this paper. You already saw how I applied the paint on my sketchbook. This is a local store board sketchbook, which hardly cost me $5. It doesn't have any brand. The only thing of the paper as very tick on it doesn't have any texture. Gosh, works the best on hard pressed paper, which doesn't have much textures. Sickness is also a great factor. As we are going with declares off paint. The normal paper, which is less than 200 GSM, will tend to bend and occur with the first layer itself. So it is always best to go, but a thick paper, which is minimum 200 GSM. So there might be paper which you kept aside because it didn't work well that you're watercolor. It is time to take those sheets out and give it a try. With quash, you never know they might work perfect for your gosh paintings. So I think that was quite enough for us to get started with Quash. Now, as you progress, you will learn quite a lot of things now, keeping all the steps en tricks in mind. Let's try some techniques which will be helpful for our upcoming projects. 5. Techniques: first, let's try painting sky. I will be using cerulean blue and bite for the sky. For most of the paintings, I will be using the same shades for the sky. And I will be fooling the same technique which I'm gonna show now. Let me squeeze out Certainly in blue and some light. Now let's first try applying ingredient wash of cerulean blue and white. I'm starting with a dark Oto off cerulean blue. I'm going with the freshly squeezed paint. I have added a drop of water so that my painters little creamy I'm going But ah, Boulder tone off cerulean blue on the top on as I come down I will be taking white and I will make the tone lighter As I progress towards down I'm using a flat brush. This is from Princeton Velvet Oxiris it a size number eight. No, I'm taking little white. Andi, I'm gonna add that closer to the cerulean blue. Then I will try to blend these colors together. If you find it difficult to blend while you need to do a step, your brush and a little water on repeat the same process. It will be a lot better you will be able to blend much easily. Just take your brush in a back and forth movement on Tried to blend them together Now I'm going to switch to white I clean my brush Totally on I'm switching to white as I need a much lighter tone at the bottom And now I'm applying the white closer to certainly in blue and again trying to blend those colors together If you need a smooth degree in You need to keep taking your brush in a back and forth Woman until you get us motor planned And also if you paint us to take All you can do is to pee oppression A little water If you're using a rough texture paper the blending won't be that easy My skies Really Now while wait for this to dry you just need to wait for a few seconds Glass rice very easily. Now, using the same brush, I'm gonna add clouds onto the sky I'm going with white Quash. This is gonna be a little rough clouds. I'm not going with the smoothly blended clouds. I'm using the same flat brush and I'm simply dabbing the brush to create a cloud shape as you're adding the clouds on a drive background. The shape you're adding will stay asset us in a similar way. I'm adding another cloud. This will be the technique that I'll be following to add clouds on all our paintings. So we tried to rob version of clouds. Now let's try a much more smoke abortion off clouds. I'm starting by adding ingredient wash of cerulean blue and white background is ready. Now I'm taking wide quash again and I'm using my flat brush to create a cloud Patton. This time I'm going with a much more smoother cloud. I added the basic shape. Now I'm going to take my brush in a circular movement on to make the outer shapes motor. Now keep repeating it until you get a bold white cloud. I'm going with a little more bold abortion off white. We have got a nice, white, fluffy cloud there now want the slayer drives You can add a bold abortion of white. Now, using gray color, I'm gonna add shadow for this cloud. Go with a very light on of gray one to have out of the shadow Take out white again Andi blend that gray into the white cloud. Now the cloud is looking more three dimensional. So this is the second technique. Now you can add more below white and give it a better look. I'll be fooling the first technique we tried for most of my paintings. If you want a more fluffy cloud, you can go with the second technique. I will be going with the rough, kind off cloud for most of my paintings, so we started with the grading wash. The same technique will be used to paint the lavender field. We will be applying a grading wash off while it on. Also, for this painting we will be applying ingredient wash off lemon yellow and that lime green . So every technique that you're learning and the section will be used in our upcoming projects. Now let's try out to different mountains that will be using another projects. I'm going with SAB creen on. I'm gonna paint all a small bit of a mountain using sap cream. I'm going with plain SAB cream. Later, I will be adding details onto this using deep cream. I have added the shape. Now I'm going with the big green color. If you don't have deep green. You can mix a little of oppression blue with sap cream to get a darker tone off green. I'm simply adding some scribbles on little patterns. This will make my mountain look more realistic. Just keep adding those little patterns. I'm using a flat bridge to other details. You can also use your round brush to now why I switched to my round brush so you can do it with either off your brush. Just make sure the lines and those patterns that you're adding are very tiny. You shouldn't be adding to big details, and also we need to see the background sap green layer. You shouldn't be covering it up entirely. Just go with a random order and add some that in scribbles and broken lines here and there . Now let's try another mountain using a Loker. I will quickly add the shape. First. I have added the shape. Now I'm going with Bond Sina on using bones in our I'm gonna add the Doc O Toole's I married my doctor tunes along the right side, leaving the left side and a local. You can see the way I'm adding my taco tunes now I will switch back to yellow ocher, and I will try to blend the bone Sina into the local background. We don't need a very smooth blend. We are just trying to get rid of all those solid lines to be the same, Cruces. And take a brush along all those brown patterns you applied now while switching to a round brush. And I'm gonna add the taco tunes. I'm going with black and I'm mixing that with a little off brown to get a darker brown shade. Andi, I'm gonna add the sign in details of the mountain using this dark brown color, I'm adding some darko patches on. Along with that, I'm adding some broken lines too. So that was Darko. Patches will go very well into the background. They're not blending the color. As you could see, I add a patch. Then I'm adding few lines. This will make my mountain looks more defined. You can repeat the same process until you are satisfied. So we've ended that yellow ocher. Then be added Mancina. Then we made all those brown patches little smoother. You think l a walker on now? We're going with the darker tones to make the mountains look more interesting. The two mountains we tried. Now we will be using that whenever upcoming paintings. And this is another kind of mountain we could be trying. It is always the same technique. It is just that the color is different. Here they will be use impression blue and white. To create this mountain, we will be adding lighter tones of Prussian blue first, and then we will be adding darko tones off Prussian blue. So the technique is all the same ones who are terrible. The techniques. It will be much easier for you to follow the upcoming projects. So we learned how to add a great involved different types of clouds and we try to different types of mountains. Aspar. Now, I'm gonna quickly show you how to add the details on a lavender field. I would like three or four rolls off lavender first e have added the lavender field rules. Now I'm going with a little dark devotionals. Poeple. I mixed a pinch of black to get a taco tone here. I'm going with a very big portion off lavender field. The one we will be using in our push. It will be a little more detailed. One. I'm using a round brush and from down towards up, I'm adding dress at the bottom. This will be our lavender plans. Now along this line, go with the curly grass line again. Take your brush from down towards up, but go with a curry line so this will make it look like there is a lot off wind blowing and your lavender plants are calling up in. Our main project will be going with multiple layers and multiple tunes. For our main project, you will be repeating the same exercise with multiple tunes and will be going with multiple layers. I want you to get the hang off, adding those cross lines from down towards up at the bottom on along that in client area, you will be adding the line in a collie manner. Once you're terrible, this you will be able to do it much easily in our main project. Now let's see how you can pay the lush green grass. Using multiple layers. I'm starting with a light cream and mixing lemon yellow and sap cream to get a lighter tone off green. So I have painted a patch here which has a lighter green at the top on lemon yellow at the bottom. Now I'm switching to a round brush and I'm going with cream on. I'm gonna create a grass pattern on the top without disturbing the Bottomley years. I wonder lighter green and the lemon yellow to be visible just over the top. I'm creating this pattern now. I'm gonna fill up the top using T cream color. All these little elements which we are trying cure, can be used in your future particular hospital. When you're painting a landscape, you can cope with any off this mountains on. Also, you can use this lavender field with our different sky. We'll be painting the lavender field along with the sunset sky, but you can use it with a different sky on also, maybe you can use the same technique to paint a party field. So all these techniques, which we are trying here can be incorporated in your future protects? It shouldn't be just limited toward we are doing in this class now. I'm switching to black aunt. I'm gonna add more fine lines right here. So you have a light green at the bottom, then you have a depot green on the top on now I'm adding some final details. You can see how nice double crosses looking right now. You could use this one in any off your projects. When you're painting a landscape, go with very fine lines. You can add some tarts and patterns on the top. Now I'm switching to light green. There's a little of light green left on my pal. It'll just use it by reactivating it with water now, and colleges drop in some random lines and dots onto the bottom part. All right, so we tried few techniques, which we will be using in our upcoming projects. Do give it a try, so it's gonna be much easier for you while we go, but our main projects 6. Painting 1 - HAWAIIAN DREAM: Let's start with an easy one. I have my people ready on time using certainly and blue for the sky. I will squeeze out on the love that she don't my palate along with cerulean blue You will also need wide quash. I'm gonna squeeze out that also onto my palate in gosh, to get a lighter tone off a color, we won't be adding water like we do in porter colors. We will be adding more white glass to get a lighter tone off stature because when you add water, it will affect the opacity off the color. We want the colors to be very opaque, so we'll be adding white glass together. Lighter tones. I have my flat shade of brushed Really Here you can use any off your medium sized flat brush. Now I'm gonna take civilly and blue on my brush and I'm starting with the dark Odin off cerulean blue on the top, applying the freshly squeezed paint onto the sky. This is the doctor. Tune off cerulean blue. I haven't added any white or any water to this color. You could see how big this colors. So whenever you feel like your painters to try on. It is difficult to apply them on the paper. You can just dip er, brush and water. Just a very tiny dip. You shouldn't be adding too much of water. So till now, I didn't add any white to the civilian blue I vented, but the brighter toe off cerulean blue on. As I come down, I will be adding bite on making the color lighter. No, I'm switching to white andan. Listen, that would certainly include to get a lighter tone off Cerulean blue. Now, over to the bottom. I'm gonna go with the light to turn off Cerulean blue, where those two shades are meeting blended well to get a very seamless blend. Now go on and add in a lighter tone of cerulean blue until the center of the paper, which is your horizon line. Just make sure you're not tiring. Too much of water. Otherwise your gosh will look more like a watercolor. It won't give you an opaque finish. Only when you feel like you're pains to try, you can have a tiny depend water. Not more than that. Now I'm gonna apply white to the horizon line. I'm taking my brush in a back and forth movement on. I'm trying to blend the colors really well. I wanted my sky to have a nice radiant wash from a taco tune on. It goes to a lighter tone as we meet the horizon line. Now we'll wait for the sky to dry. Then we will add in the cloud. Meanwhile, we can paint the sea at the bottom. So this is the inspirational picture that I'm trying to recreate as a meaning quash painting. I won't be 100% going with the photograph. I will be trying to tweak little and between. I have added these photographs into the true Sosa section. You can get it from there. I'm gonna mix a little off Viridian green, but cerulean blue to get an aqua green as my set doesn't have a took wise or a car green sort of the color. So to get that see green, I will be mixing very in green and certainly in blue. If you have used Prussian blue interested in blue for your sky, you could do the same thing. But Prussian Blue asked for Your color will be slightly different from mine. But still you will get a nice producing blue so don't worry at all If you don't have a cerulean blue it's absolutely okay to use Prussian blue Interrupt Cerulean blue I have got a NYSE acquire green kind for color here. Now I'm going to start with the horizon line and that's my horizon line. The shade that I will be using would be the starker I'm adding white Andi, I'm bringing the tune to a lighter one Just like how we painted the sky I will be making the tone lighter As I raised the shore I'm gonna take the paint in an inclined line here where the sea is meeting the shore Now full of this entire area I'll wash my impression. Then I'm going to switch to White. I didn't white along this line and making our secreting more lighter. Now keep lending that white into the secret color. Try and get a seamless blend here. If you feel like you're painters to dry, you can just add a pinch of water into the paint and then blend the color that might help a little. All right, that looks okay to me. Let me wash my brush. Now I'm gonna meet this line even more lighter by adding a little more white into the secret in color. Now I'm gonna take some freshly squeezed white color. Andi, I'm gonna apply that over this line to get that nice for me. Waves had that clean, fresh white along the entire line. It looks very beautiful when we are in the sand color. If this Linus clear white, it doesn't show here. But I have applied. Nice, clean. Why toe this line now I'm switching to yellow ocher Onda mixing little fight into that to get the sandy color. I think this color kind of looks great. I have just mixed a pinch of white into your local on. That is the shade you see here. I'm starting by adding a line using this color. You can see my Linus not too smooth. You can see the way I'm taking my brush, that it's not a straight line and also not a small called. So I have defined that line. Now I'm gonna take a little more off white on mix that with the color we had made a little to make it even more lighter on. I'm gonna apply that at the remaining area left at the bottom. So we added white into your Loker and created this color. I went in with the doctor Tune there the ways fair touching the shore. And then for the remaining area, I made the color lighter. Keep blending the doctor and the lighter tool to get a seamless blend. Now I'm cleaning this short line so we have a sea and the sky Ready There now I'm gonna add some clouds on the sky have taken little fight on my palette. Andi, I'm loading my brush with enough or bite paint. I will be using the same technique which we practiced earlier. I've allowed some clouds on the right side. First, I like my clouds to be little draft rather than there being too smooth. So if you want a very smooth, nice, fluffy cloud which is properly blended into the background, you could try the second technique, which we practiced earlier. I'm adding a few more clouds here and there in my inspiration picture. There's no clouds, so if you don't want to add clouds that is up to you. You can leave the sky. Lassiter's without adding any clouds, just like Harvard in the practice section, you need to dab the shape off the cloud into the sky as the background has dried completely . The shape that you're adding will stay. Lassiter's, I think with this little cloud here, I'm going to stop it. I just washed my brush. Now it's time to add the mountains to add the base layer off mountain. I'm using sap cream. Using SAB green, we will be adding the shape off the mountain. Once the shape decided, people switched to black on. Then we will add in all those little details. I'm gonna start by adding the tall a mountain you could say in Emma reference picture. We don't have any moments or war. The left side, the entire mountain Linus. Towards the right side, I will be following the same. We added the taller mountain. Now I'm gonna quickly add the remaining off the mountains. You can see how the mountains are adding a lot of character tobel painting we live in. We had only the sky and the sea. The painting was looking quite flat. Now the mountains are giving it a complete look. It will look even more nicer when we define the mountains, adding the details using black I will be using this flat brush for almost everything that I'll be painting throughout this class. Feel free to switch to your round Gracia wearable needed. I'm kind of used to this flat shade of brush on, and I use it quite a lot. And for me, it is quite convenient to add in all the details using the same brush. It might be easier for you to use the wrong brush while adding the mountain. If so, please feel free to switch to a round brush. And now it's time to add in the details. I'm gonna take a little off black gosh, I will mix it up with the sub clean to get a deep green color. Now, in a very random manner, I'm gonna add in some scribbles here and they're onto this green mountains. Just give it a watch for a few minutes. Then you will understand. I'm just adding some random scruples. Just don't fill up the entire mountain with so much of scruples. We don't want a lot of them. They want the background sour cream colored to be visible. Maybe you can concentrate on either left or right side on. Add more scribbles only on one side on leave the other side with more sap green. It doesn't really matter if you go with a round brush or a flat brush, as the scribbles were adding are too tiny and we just need them here and there. So feel free to use whichever brush you are more comfortable. But now I'm adding some last final details At the bottom. You can see, however, mountains caught a quick makeover. It looks move realistic. Now, with those little scribbles and patterns, we added using a Darko tune, I'll just quickly add some more random patterns and then but that we will be done with our painting on. There we have our first mini quash landscape. I'm in love with this little painting. Look at the sky, the sea and the mountains. Everything was going so well together. I hope you all enjoy painting this meaning quash landscape. I enjoyed teaching it. I hope you enjoyed painting it, too. Here is a closer look, and you can see how beautiful each and every detail is looking. We have more meaning wash landscapes coming up, and I can't wait to show you the next one. Do give this one a try. I'm sure you're gonna love it on. Once you finish painting this fun, join me in the next video. Let's start with the 2nd 1 7. Painting 2 - GREEN MEADOWS: All right, let's start with our second mini quash landscape. I'm starting with the pencil sketch. The sketch is very simple. You just need to add all mount on the right side. It's like a hill coming down Just a line lighters and that's it. And that's your sketch. Now we are ready to paint this time for the sky. I'm going with Prussian blue I'm going to squeeze out a little of pressure blew onto my plate So there you have your prussian blue Now I'm gonna take a little of white Haskell Andi, I'm starting with a Darko tone off Prussian blue on the top right side Now I will bring the tune down using white I'm gonna take white on my push on I'm bringing the tune down to a lighter one Keep blending as we discussed earlier. If you feel like your pain this true try or you have any difficulty in planting You can just dip your brush in water and make sure you're not adding too much of water. Just a tiny depressed enough on that will help you and planting that tiny drop of water is just like Matic. It will remove all the dryness on. Make your paint more creamy and you will be able to blend much easily. Let me quickly up in the sky, guys. Ready? Now I'm gonna take lemon yellow. I'm going to squeeze out a little off that now I'm taking sap cream. Now we're going to paint that hilly area. We're going to start with the lemon yellow. I'm gonna apply lemon yellow or the Syria by a clean good off lemon yellow over here. Now, as we come down, I will be switching to saccharin. Actually, I will be mixing sap green with lemon yellow to get a lighter like, Oh, what you call that? Fresh green color back tender green. So I have applied enough off the lemon yellow there. Now I'm gonna makes the remaining off the lemony alot, but sap green to get a lighter tone off green. You could see the color. It's a very nice and fresh cream. I just dip my brush in a little water. You could see how smooth my painters blending right now. Keep applying that like cream until the end of the paper. Give it a very nice more blend. Just take your brush in a back and forth movement on whenever you paint is dry, just dip your brush in water on you will get a clean blend there as to hit the bottom. You can switch to sap green so you have a nice traditional lemon yellow, which is going to light green on. Then, as your wrist about, um, you have a little more darker green. It's not really dark, but you can see that gradation off the lighter to the doctor tools. So I have applied all the colors there. Now I'm gonna quickly blend all these colors. I just dip my brush in a little water. Andi, I'm quickly blending them, taking my brush in a back and forth movement. And that's it. The meadow is ready now. I'm going to squeeze out a little of white. Andi, I'm gonna add some clouds onto the sky, just like hobby practiced earlier. Load your brush but wide quash on. Keep dabbing your brush on the blue background to create the shape of the clouds. Add as many as you want. I'm adding one at the left side and maybe have allowed one more on the right side. I'm kind of loving the colors we have got here. It looks like those best top one people's right. Remember those days when you had those big, quite bulky monitors there you had such a desktop wallpaper on you had only like, three or four options, and you keep changing it every day. My card. All these make me feel like an old enough. But really so many inventions happened over this last 10 to 15 years, right? My cart. There are so many memories flashing into my mind. I think I should stop it here and concentrate on my painting. So my clout are getting ready there. I'll just stop with these two clouds. If you want to add more, you could do that. Maybe you can turn it to a nice cloudy sky. It's all up to you now. I'm switching to this color called green. If you don't have different no problem, you can makes a little off brushing blew into your sac ri on get a similar color and also I'm going to switch to a round brush. I'm loading my brush with this deep green color. You can use any off the darker green that have got now, using this color. We're going to add trees. Go with the brush, which has a nice tip on. Just add lines off different heights. There's randomly at some lines. Some of them can be taller. Some of them can be shocked her. Maybe you can add a guideline at the bottom on. Then keep selling the top with smaller and hollow lines. Go with the mix off dollar and charter lines in between so that it looks more realistic. - Take your trace. Almost all center off the people on. Make sure you reduce the height industries as you reach that yellow hill you could see here . It looks very nice when you have that yellow layer in the background on was lush green trees in the foreground. So don't cover them up. Go with a similar height as you restart Yellow Hill. No, I'm taking sap green and I'm gonna add some lines on the ground. Just give it a watch. As I add these lines, you will see how I'm dividing the meadow into different section. I'm gonna add a line here on that will divide my meadow into two sections. I will be adding one more at the bottom so that I have solutions. I'm going with some more green strolls. Andi, Another one at the bottom. So you can see I have got three divisions here. I know these lines doesn't make much sense now. But then we add in the tiny houses on the pathway leading to those houses, it will make more sense. You will get to see that and sometimes. So don't worry. If you're not liking those lines, just add some lines like these and divide your meadow into three sections. Now I'm gonna add some trees on the right side. This time I'm going with sap Green because I wondered a lighter green trees at the side. We went in with the dark green on the left side. Now, in a similar way, I'm gonna add trees on the right side using Sac Ri. I'm adding very few trees at the right side. I'm not taking it till the center as fitted for the left side. Just make sure the height of the trees are shelter as you come in. Now I'm switching to four million dread on using this color. I'm gonna add some tiny houses, maybe two or three of them I'm loading my round brush for 12 million trade on And I'm starting with a rectangle. A small rectangle. It's a buddy tiny house. If you want to switch to a detailing brush, feel free to do that. My brush has a good point on I'm kind of able to make the tiny rectangle using the size number four brush So we have a bright orange tiny rectangle there Now I'm gonna take a little off black wash and mix that with the woman in dread. Andi, I'm gonna make the other side of the house. You think this Darko tune It's a very simple house. I don't know if the size is really bordering you. If then you can switch to a detailing brush. Once I'm done with this one, I will be adding a similar house on the right side. Passport now , using the doctor turnover 1,000,000 dread. I'm just defining the shape of the house and also adding the shadows. You can add a line right at the bottom off the roof. Andi, that's it. Now I'm gonna take white wash. Andi, I'm gonna make the roof off the storehouses just plain white, and I'm gonna fill up the roof using white quash in a similar manner. Pain the other one as well, using the same bite. Quash adding a tiny door for both the houses and that's it. Now I'm sweating to yellow Joker. I'm going to squeeze out a little off that on time ballot. Now I need a little off white ass full on and mixing the yellow ocher and white to get a lighter tone. Our fellow poker. Andi, I'm gonna add a Nadal cov road leading to this house. You can see the way I'm adding these lines. I'm not taking them continuously. I added the first line on the second bit off the road, I added a little far from the 1st 1 Now the 3rd 1 I will be adding right here. Now this will make it look like it's a hilly area on. Want to be out in the dark atones? You will be able to say it more clearly. We have the basic shape. Now I'm taking a little off wide quash on time, adding a very thin line on the left side off these roads. Now I will come back with DACA creen on Add Darko tunes on the left side of Thestrals. You can see how the roads are getting defined. Now, just on the left side, you just need to add a little decline and then just take it out so that it goes well into the green background. I made a mess. I just dropped my brush onto that medal green part and I had to fix it. That's why you are seeing it in a little shabby condition. No mind. Once you define all the roads, you can add in more Darko crane lines variable you need. I'm glad that I'm working with guar so I can fix all the mistakes. If it was watercolor, I had to do it from the beginning. All right, Now I'm spitting toe born seen up on in a similar way how we added the darker green lines. I'm gonna add Dhaka tones of brown asphalt this time Go with a very thin line. We don't need a lot of brown lines. If needed. Switch to your detailing brush that will give you very 10 lines. I'm gonna add one more line here. You can see how the roads are very well defined. Now I'm going with the last fuel final touches. But Bond Sina adding some Darko tunes at a random a. Diaz. I'll add a line here which will define that house on another one. Right here. Go with a very thin line. Make sure you're not adding toe. Take bulky lines on. I think with that we are done. I'm quite happy with the way this one turned out. Really. The colors are so pleasant and refreshing. I'm hoping you all enjoyed it too. Look at those colors. So pride and pleasant, right? This one is really simple. Don't give it a try. 8. Painting 4 - LAVENDER FIELDS: All right, let's be never fort. Many quash landscape I'm gonna add a line a little about the center of the paper we painted three days, guy. So now it's time to change a little bit. Let's try a sunset sky. I'm gonna start with the poeple color. So the set has a shade called lack. I'm going with a dreamy purple sky which has some wreck tent at the Porton. So if you don't have poeple, you can make your own purple Using Prussian blue and crimson the next year I have here a scarlet trade you can use any orangish red. We just need a little of this shade The next year you need for the sky Is Prussian blue on Along with that Obviously you will need some wide to bring the tune down to a lighter one. So we have all the colors for the sky Now I'm taking my flat brush. Andi, I'm gonna start by adding Prussian blue Over here. I would only be adding blue at that corner than the remaining. I will take the purple shade and over the bottom. I will call with scholar trade. So let's start with Prussian blue I'm adding pressure blew onto this right corner, just dipping my oppression, a little water and Cain going with Prussian blue. I don't have any reference picture this time. I'm just going with what I have in my mind. Have a large sum. More ble. Maybe a little over here. Andi, that's it. Now I'll switch toe purple. I'm going with this freshly squeezed lilac color, which is your purple shade on. I'm gonna add that in closer to the Prussian blue on trying to blend these two colors together go the darko tone of purple over the top on as you come down. You can add in white on to bring the tune into a lighter one. Whenever you feel your pain is too dry, you can dip your brush in water. You just saw how I did that tip. It should be that light. You shouldn't be luring your brush for too much of water. That will affect the opacity off our glass color and you won't get in or big finish. Now it's time to make the pope a little lighter. I'm loading my brush with white Gosh, Andi, I'm trying to bring the tune into a lighter. One. You can see the way I'm blending the colors. You just need to take your brush in a back and forth movement and keep repeating it until you get a smoother blend. Now, over to the bottom line. I'm going with Scarlett Trade. I'm going with a brighter tool. I will bring it down by adding little off white. I really love this combination Off blue, Purple on scarlet, right. It's one of my favorite competition. Now, over this line, I'm gonna bring in white so that the color is lighter as to treat us the horizon line are the white on to meet the scholar, tread lighter. Then again, take your brush in a back and forth movement. It is absolutely OK, even if you don't have a clean, smoothly planted sky, you can see from here my colors having blender properly. Still, the colors are looking so beautiful. I think I'm kind off liking the way the sky is looking at the moment. I'm not going with a clean plant. Maybe let does red streaks stay acid. Er's it looks more dramatic now. Maybe if I blended well, that expression off the sky might not be there. So I'm gonna leave it. Lassiter's Maybe I will make the read a little more brighter. So I made the red brighter. Now I'm switching toe white, and I've allowed fuel streaks onto this red area to make a little more dramatic. Andi, that's it. That's our sky. We'll need to wait for the sky to dry ones. This drives, We will add a line off mountains on now which time to paint the lavender field? I will be going with a darker tone. Awfully lack at the top on. As I come down, I will make the tone lighter. I'm seeing a little of black to the pupil shape that I have got here. You just need a darker tone off poeple and I'm gonna apply that over the horizon line. We don't need a lot of this dark Oto. We just need a little over the top. Then I will be switching. Totally lack. Then as I pro close down, I'll be added white on. I will bring the tone down. Well, I'm watching my brush and I'm switching to lack. Now go ahead and apply the purple color. Almost all the bottom number to dip your brush and water off your painters too dry and thick. But don't compromise the opacity. I know I'm repeating this too many times because some off you might be big nose and maybe are using watch for the first time. I just want to keep reminding him about it so that you have Ah, great experience working with quash. You can see the pain is kind of dry now. Andi, I dipped my brushing water, and now I'm kind of able to blend. It's Moakley. Now it's time to bring in the white. I'm adding that closer to the poeple, she'd be applied on trying to blend that together. Now, I will quickly blend us and make our lavender field ready for the next layers. All right, so that is ready. Now I'm gonna switch to black. Andi, I'm gonna add a line of mountains over here. Go teeny tiny mountains so that you get a sense of depth. Feel free to switch to a detail ing brush before I jump into the detail in part for a lavender field. I'm gonna go with one more layer and make this a smooth plant. I'm heart really happy with the B this is looking right now. I went in with a new layer and I made the lavender field mice motor. I mixed a little off water to the paint on made them into a cleaner blend. I'm so sorry. I was little late when I realized I didn't click on the capture button. I have showed you the blending. Exercising a technique section has the same thing that I have followed here. Now we're going with the D dealing part of the lavender field. We need to add those different rules and mixing crimson and a little off black to get a darker tone off Crenson. Now I'm gonna add those rules, adding the first little here, then on of the one over here, so all of your line should be pointing towards one direction. No matter, no matter which kind of angle you're following, everything should be pointing towards the same direction. Otherwise, you won't get that sense of proportion in your painting. Now I'm gonna make the line ticker towards the bottom end. Now let's go with the remaining details. I'm taking the lack. Then I'm gonna add some darko tones of that color over the bottom. Just watch carefully how I'm adding them. I'm taking my brush from bottom to top and just try adding some lines. Similarly, I will be adding the little action onto these three sections once you have out of the darker tones of lilac at the bottom. Now take your brush in an upward direction along those divisions which we added, adding some color there. Then take a brush from down towards up, creating a similar pattern. At this point, this will look a little messy, but we will be added more layers on top of this on by the end, you will get a beautiful lavender field. You can see the way I'm taking my brush. I'm just taking my breath from down towards up to create a grass kind of pattern. It is good to go with the flat per so that you can cover a lot off area at the same time. Keep adding them on, make sure the lines are no too tall. As you go towards the horizon line, they can be taller at the bottom end on as you go towards the other end. Make them smaller. So we have the base layers ready. Now I'm spitting to a round brush on mixing crimson and lack together to get a very vibrant and bright color. Now, using that color, I'm gonna add thin lines at the bottom something which looked like grass. I'm taking my line from down towards up. Don't worry a lot when you are this lines. We just need to have some FREEHAND lines which is going from down towards up. Add them in the same direction. You can see the lines I'm adding curious. Not at all perfect. But still it has got a beauty. If you look at the overall picture so don't worry about the perfection. Just go ahead and add this freehand lines once you're done with the bottom had similar lines at these lavender rules just onto one side. Maybe you can slightly call it up to give it more natural. Look, you don't need to add this grass till the end off those lines. Just had some taller once at the beginning and then as you progress towards the horizon, you can make them shorter. No, we're going to repeat the same exercise with Sadako, too. I'm mixing little love crimson with black Andi, I'm gonna go ahead with that color in a similar way. How we did before. I'm gonna add grass. I'm taking my brush from down towards up on adding freehand lines. I'm adding them at the bottom line and also along that divisions which we added. Now I'm going with little Darko tour. I added more black into the make sure, Andi, I'm repeating the same process off adding grass. I'm taking my brush from down towards up on, adding them along the inclined line and also at the bottom. You can see my main concentration was at the bottom, which is more closer to us. As we progress towards the horizon line. I'm making very weak details. I'm not really putting a lot of effort. As I progress towards the horizon again, I'm going to repeat the same process, using a much more taco tune off crimson. I'm adding more and more black to the make sure on, you can see the color that I'm using curious, more or less close to black. I'm repeating the same close off adding grass by taking my brush from town towards up. When you keep adding those different Leo's, your painting will start to look more beautiful. I'm quite impressed with the painting so far. I think I'll add one more division over here with a very light on. Awfully lack. Um, using a little loose washing off the pain. It does not do aerobic. I don't want this line to stand out so you can see when it dried. It is not really standing out compared to the other lines on That is what I want it on. Dhere us a closer look off our lavender feels. I hope you guys enjoyed painting this one. We didn't go with too many details, but still, I'm loving this painting. If you want to add more details, you can go on with more layers on and make it a well detailed painting. 9. Painting 3 - DESERT MOUNTAIN: way so far. We tried to meaning quash landscapes. Both of them were quite easy. Now it's time to level up our skills and go with a little more advanced one. On. This is the photograph, which I'm trying to recreate as a mini egg wash landscape. Let's start with our pencils. Catch. You have the same photographs in the JoSosa section if you want to have it rendered or if you want to look at it in a larger scale. I'm trying to sketch a similar mountain terrain, and it's absolutely okay if your sketches not exactly similar to the reference photograph. Our idea is not to create a copy of the photograph. That is just a reference to study the textures on bond the details of the mountain. So I have added a simple sketch of the mountain there. Now I will add a few more lines, so this will guide me when I'm adding the details and darko tones. That's it. Now we're going to start painting for the sky. I'm using Prussian blue on obviously some white to bring the tune into a lighter one. I'm gonna squeeze out these two colors onto my palate. I'm using my same flat brush size number four. I'm loading my brush, but Prussian blue Andi, I'm gonna go with a darker tone First I'm thinking of going with a bit of Darko tune for the left side on As I go towards the right side, I might make it lighter. I don't want my left side to be the stark. I will be adding white on making the tune lighter. Okay, this is the kind of color that I want for my left side. I'll blend it well, I will be taking the same shade till the border on over the right side. I will make the tune even more lighter now, adding more right into the mix on making the turn lighter for the right side, Ki blending them on and fill up the remaining off your right side with a lighter tone off blue. So we have the sky already there. I'll wait for this to dry. Then I will add in the clouds. After that, people be painting the mountains just like how we did in the earlier paintings. I'm gonna add some rough clouds here and there. I'm not fooling the photograph on mining clouds at random. A Diaz starting with one right here. Feel free to have the clout according to your bush. You don't need to follow what I'm doing here. I'm just taking random locations and adding some cloud shapes. - You don't need to stress yourself when you reach the mountain sketch. It is absolutely okay. If some pain got into that sketch once we are in the color for the mountain, those things won't be visible. As we're working with an opaque medium, I'm done with the right side. And here is a closer look. You can see they're looking very rough. This is the way I like it are landscapers very tiny. It is roughly and a six eyes so well, you don't need to put a lot of effort and making them perfect. Now, why will quickly adding the remaining off the clouds? As you could see here, I took the shape of the cloud on either side until the mountain sketch, just to give it an impression that the mountain is hiding it on. It's a huge, continuous cloud. It also gives a feeling that the mountain is too high and it is rising into the sky. So I'm done with the sky and the clouds. Now it's time to paint the mountains for the mountains. I'm using three shades Yellow Car Bon Xena on black. I will squeeze out one by one onto my palate. Yellow car goes in now. Bond scene alcohols in on a little off black. I'm starting with the local Andi. I'm going to randomly apply yellow ocher onto all these lines, which we had added when we were doing the sketch I told Do these lines will act as a guidelines for us when we add in the details. So I'm gonna add the Gallo Oakar onto the left side off all these lines. If you had Mr Oddo's reference lines of this absolute legal K, just keep adding yellow ocher and a very random pattern. We will be adding darko tones later. Just keep a watch. How I'm adding the yellow Joker are mainly focusing on the left side. As I know, I will be adding the doctor tunes on the right side. So even if you don't have those guidelines, Cohen a similar pattern I have added enough are really Walker. I think now it's time to switch toe bone Sina on go in with the darko tones. You can see all these spaces which I left in white. That is the place I will be adding the DACA tones. But just my bone sina. Now using Mancina, I'm roughly filling up all those gaps from the top to bottom and a very random manner. I'm filling those gaps. At this point your mountains may not look so beautiful, but ask the progress and then we blend the colors and added more details. It will start to look more beautiful. Believe in the process on have believe in you on enjoy Were you doing at the moment without worrying about the end? Correct. You're painting may not look like mine. But once you have got the idea how to add the lighter tones, the darker tones and the details you can play, what would you have loaned? And that is what is more important than getting a beautiful and result. All right, so I have added enough old bones Anadarko don't There now I'm switching to yellow occur again on I'm trying to blend the close together. This is to get rid off all those rough patches to kill brush along bone sina and try to blend that with a yellow car, which we have on the left side. If you're finding it difficult to blend the colors, dip your brush in a little water on that will make the process much easier. The process isn't that complicated. You just need to load your brush with yellow ocher. If it's too dry, you can dip your brush in a little water on a ticket along the bond, Sina. But you have added, I will repeat the process, and I will get rid off all those rough patches that I have here. Once we're done with those, we will be going. But the doc 02 which is black Andi will add the final details on to the mountains to make it more defined. All right, so this is how it is looking. Now. You can clearly see I didn't go, but a very small planned. That is still a little rough, but this is OK. Now it's time to go in with the darker tones. I'm using black Andi using black. I'm gonna add the final details of the mountains, which will make our mountains more defined with that shape and also make it look more realistic. So we started by adding Gil Oakar. Then we added Bond, Xena on the right side. Now I'm going with a Darko tone of Mancina. I mixed a little off black with Ponzi not to get a darker tone. My whole concentration is going to be on the right side. I'm gonna add more taco tones only on the right side, leaving the left side in Gilo poker. I'm switching to around fresh. It will be much easier to add in those tiny details using a round brush rather than a flat brush. I'm loading my pressure for that dark brown color. Now watch closely how I'm adding the details. I'm going with the section on the right side. First I made the right and Docker. Now I'm going with tiny lines. All we're doing this first well defined those spaces where we need Darko tunes. Then we will add tiny broken lines just to add more textures. Want to keep watching what I'm doing? You will get a better understanding now. It's cool with this bto. I'm starting by adding the dark patch right here. Now the same goes here, A school start with adding that dark badge. Then we will add those broken, tiny lines as you progress. Along with adding the details, Give the mountains in good shape. You can see how tiny the details are adding cure if you want feel free to switch to a detailing crush. You can see how the shape is getting better than we are does for Darko Tools. I'm going to do the same thing over here as sport. I'll just defined the shape better. Along with that, I will add some tiny details. Now I'm switching to this area, adding some very little patterns because my main concentration is over to the right side. Andi, over the left side, I will be going with very tiny details all you need to do us at some Chinese cripples and lines just like how I'm doing here, Um, adding some bones in our tunes. Over here it is looking very plain. Now I will come back with the darker tunes to make it more defined. Just adding some tiny lines. Sense cripples as you progress. Step back and have a look at your painting and you will slowly start toe get understanding where all you need to our Does Doc atones be your own critic? I'm not at all following the reference photograph. I just took the inspiration from the photograph on and the rest of what? I'm doing it by myself without looking at the photograph. This way, I have ah, total freedom off war I'm doing on. I'm not limited to what I'm seeing in the photograph. I will try to explore different techniques and come up with a washing else my own. I always believe in your blindly copying a photograph, your limiting your ideas and thoughts toward you See, in the photo craft you wanting out of the box on bond, your painting will become just under copy off that reference photograph much millions off other people are doing it won't have your own identity. Let me quickly add in the remaining off the details. We're almost done. A medicine doctor turns off brown over here hospital. The city is also looking quite playing. So this is what I was saying. Then you keep progressing with your painting. You will kind of understand where all you need to have those taco tones. Sometimes you might be are in your taco tones slightly different to mine. You may not be liking the way I'm doing it, and you will have your own style off adding the darko tones. So the only thing is, you need to keep adding those dark patches on, then add in the remaining tiny details to make it look more interesting and give it more textures. Just that understanding over to add the doctor and the lighter. Don't ask all you need. I'm gonna add a little off brown over here as well. So this is what I was saying. When you look at your painting, you will never feel satisfied, even keep adding those taco tunes and more textures to make it look more interesting. You will slowly get there once you up. So some photographs and you try them by your own. All right, I'm going the last round off. Clean up to starting some taco tunes on making the shape more clear on, but that we will be done with our desert mountain. And there you go. Here. Izabal finished painting. I'm quite happy with the way this one turned out. I really allow the textures we have got here 10. Painting 5 - COUNTRYSIDE: Let's start with the were finally class. Protect this one is going to be a little more advanced. One. I'm starting with the Bensons kitsch. So here I'm defining a vanishing point. Now I need to draw road, but just vanishing at that point. Then from that point it will take a tiny tone. Then I have mountains on either side and some at the background. Passport. Now widely, paint will be adding pine trees over here. You don't need to add these lines. I'm just showing you there will be a pine trees on. We have a schedule E. Now it's time to paint amusing cerulean blue and bite for the sky. I will add Oh, lighter tone off cerulean blue over the entire sky. Then I will be adding bite clouds onto that in a similar way. Harvard it In all other paintings, I have taken bold the colors on my palette. Now I'm going with a lighter tone off cerulean blue. I'm mixing cerulean blue, but a little off white on. I'm adding that color onto the entire sky. I will quickly pay in the sky the same way. How it'd Carlier way, have the sky ready now let's pain those mountains in the background. I clean my brush thoroughly Now I'm taking a little off white quash I'm gonna paint a snowy Prussian blue mountain So on the top it will have to Quite And then as you come down I will be taking Prussian blue paint the mountain invite almost till the middle Now go But Prussian blue You need to get a grill Ian wash of white which leads towards Prussian blue I'm going with a little of taco tune at the bottom Now I will take the color up on I will blend those colors together. I'm going with white Ajene Andi, I'm trying to blend those colors together. If you feel the pain that still dry, you can't depression a little water which will make the planting much this year way. Meanwhile, the sky and this mountain tries will go with the bottom layer off mountains. I'm going with sap green, then a little off lemon yellow And also some media law which will be your gamble Jell O. So I have three shades there and I'm starting with Russian blue for the top. I'm going with the Darko tune at the top, and as I come down, I will be using sap cream and then at the bottom, I will be using lemon yellow so you have a nice dark tone at the top, and that comes to our lighter yellow shade at the bottom. Go with the bolder version of Prussian blue and applied under. You reach almost the middle. Now you can at tiny grooves and lines on the top toe triplicate trees, the same thing I'm gonna do on the left side asked for. - And now I'm switching to sap green, adding it closer to Prussian blue and trying to blend those colors together. You can take a little down on Daz to reach the bottom. I will be switching toe lemon yellow. Same goes on the right side. We need to get a nice gradation from dark blue to lemon jello. Now I'm switching to lemon yellow on adding bad at the bottom. Now fill up the remaining area and lemon yellow on either side. You don't need to worry if the colors having blended well, we will be adding pine trees and some other details onto this layer. So you're blending. Doesn't really matter whether it a small it or not. Now I'm switching to white and I'm gonna add clouds the same way Harvard it for the other paintings. We don't have a lot of sky visible in the spending. So I'm going with the very limited clout. Ah, little on the left, on a little on the right as well, under sort of clouds here. And I think with that I will stop now again switching to Prussian blue. I'm using a round brush now on. I'm adding the details on the snowy mountains in a similar way. How we did the desert mountain. It is just that the color is different now. I'm going with a light of dawn off Prussian blue on time, adding some patches here and there. Artem lines over here, and I have a lot few more lines than I will come back with a darker tone off brushing blue and then add the final details at the same way. How we added bond Sina. Then the added Darko tones using black. So now I'm switching to a darker tone off Prussian blue. To add in the final details, I'm adding few broken lines to give it a more defined look. So they went in with the Grady in Wash. We started with white and then be used Prussian blue towards the border. And then I added lighter tones off Prussian blue and added some lines. And now I'm going with a darker tone of Prussian blue to add in the final details. It was just some broken lines and little patches that I'm adding on with that our snowy mountains are done. Now we're switching to yellow. This is the gamble Gov Toe curler Aunt. I'm gonna add a line off trees using gambles yellow at this line. Ah, very short line. You can see the gamble, Jello. It's not too big, so I'm adding a little white to make it big. Andi, I'm gonna apply another layer on top of that. Now the colorists. A lot more Orpik. So you will be getting a light of dawn off gambled yellow, which is absolutely fine. I'm loving it so far the blue mountains and the trees. And now I'm mixing a little off black toe white quash to get a great tone on using this color, I'm gonna fill up the entire Lord. This is the kind of color that will be using for the road on our countryside. Painting is getting in shape. I'll quickly fill up the entire road in Great. - We have pain in all the base layers. Now it's time to go in with the details. I'm gonna take a little of deep green on. I'm starting with a detail ing from the top to bottom. I'm using a round brush. We have already added yellow trees here. Now I'm gonna add another layer using cream right behind the Lhuillier. You shouldn't be covering that layer. We need to see that a little later in the front on. You just need to add cream in a similar way in the background. Here is a closer look. This is how you should be doing it. Add in lines off different heights close to each other, which will replicate trees. Now cover up the entire background off that yellow earlier which we had already applied. Now I'm gonna area local to these lines, go with the light or turn off your Loker and then cover up those lines you have on either side. We had left that area untouched. We didn't add any paint over there. if you had painter lemon yellow till the bottom all you can do us at the white line first using white quash. Then once that dries, you can add the same yellow car on top off it, people look the same. Now I'm again going with deep green. If you don't have deep green, you can had a little off pressure blew into sap cream to get darker green shed on time adding some pine trees on either side using this dark color Caroline first. Then take a brush and a daughter movement on bond. There you have your pine trees. I have added one. I'm gonna go with the next one. I added the line. Now I'm taking my pressure and tortured pattern to create the foliage. When you're adding the pine tree is just make sure you're not taking until the bottom. You need to stop it when you have that light green. Calo, you shouldn't be taking a till the bottom. No, I'm adding under the one on the right and global different heights and different orientation. This will make your painting look more interesting. As you see here I went in with all tilted position so I added three big pine trees. Now I will add some smaller ones in the background. I'll just finish the border part and I've allowed more smaller trees in the background, just like how we practiced. I'm gonna add a grassy pattern here so that you have a nice yellow bush and the friend on you have your pine trees in the background in a similar way. I'm gonna add that grassy pattern on the left side first, so I know where I should limit the pine trees. Now, I wouldn't be taking my pine trees after this Cross a line. This is where I'm going to limit the height off my pine trees. I'm going with the smaller ones. Now I will be adding more taller wants over the left hand. Make sure you have a rough idea off the proportion. The trees closer to you will be taller on larger on. As you go towards the horizon line, they should be shocker. So go in a similar pattern. Your bigotries must be closer to you. Now I'm going with a little victory on the left end and now I'm adding the remaining off the darko patterns on finishing this line off pine trees. All right, now I'm sweating to born seen up Andi. I'm going to add some DACA tunes over this line. Just a broken line. Go with a very thin line. It doesn't need to be toe take Are you line in a similar way, Andi, that's done. Now take a lime green color which I have got by mixing a little off Lemony Low too sad green And I'm just adding some random lines here at the bottom. If you remember, we tried the same thing in the technique section. I'm going to do the same thing onto the left side, as full. Now I'm taking out a little white on. I'm gonna add those lines on the road on that we will be done as my bridge has a nice took . It was easy for me to add these lines using a size number four crush, feel free to switch to a detaining brush. If you're not comfortable with your medium sized brush are you can do the same thing using a wide Children at school. Now I feel like I should have added a yellow line of the center. No mind. I will add a yellow line on top of those ones. I'm done with the right line. I'm taking Gamble Jello on having gonna cover up this line in yellow. This is what I allow about. Gosh, you cannot make a mistake if you make a mistake, you can six a Daskal on, but that we're done with over final meaning wash landscape. I'm very much happy with the way this one has turned out. And I hope you all enjoyed it too.