Landscape Studies in Gouache with Clair Bremner | Clair Bremner | Skillshare

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Landscape Studies in Gouache with Clair Bremner

teacher avatar Clair Bremner, Professional Artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

13 Lessons (1h 25m)
    • 1. Introduction

      0:52
    • 2. About Gouache

      6:45
    • 3. Materials

      6:21
    • 4. The Four Cs

      3:56
    • 5. Stage 1 Composition

      9:26
    • 6. Stage 2 Colour part 1

      4:22
    • 7. Stage 2 Colour part 2

      9:34
    • 8. Stage 3 Contrast part 1

      8:01
    • 9. Stage 3 Contrast part 2

      8:10
    • 10. Stage 4 Character part 1

      6:20
    • 11. Stage 4 Character part 2

      7:57
    • 12. Timelapse part 1

      7:44
    • 13. Timelapse part 2

      5:03
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About This Class

Gouache is a wonderfully versatile medium and it really comes into it's own when used in sketchbooks or travel journals to record what you see. It is fast drying and vibrant but also able to be used in many different ways. In this class i will demonstrate how i like to use gouache in my sketchbook to capture landscape sketches and studies for inspiration for larger artworks.

I have broken the process of creating a landscape study down into four simple steps and i will show you two finished landscape studies, one in real time and one as a time-lapse. 

I will also talk about gouache as a medium, which materials I recommend and also how to work with a limited palette.

This class is aimed at more intermediate artists that do have a bit of prior painting experience however if you are a beginner don't let that deter you. You need to start somewhere and there is a lot of really helpful information in this class regarding how to plan a composition, working out which colors to use and the step by step process of painting a landscape sketch.

Meet Your Teacher

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Clair Bremner

Professional Artist

Teacher

Hello, I'm Clair.

I am full time artist based in Melbourne, Australia. I specialize in abstract expressionist landscape paintings. I have been teaching in person workshops to art students for a few years and I am excited to be able to bring some of these techniques and lessons into the online world. 

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Transcripts

1. Introduction: Hi, I'm Claire. I'm a professional artist based in Melbourne, Australia. Stay. I'll be talking about Guassian and demonstrating how I use it to create Landscape Studies in my sketchbook. Gosh, she's a fantastic verse Tom median, that's foss drawing and perfect for creating vibrant and detailed studies to make the process of capturing landscapes Asia, I've broken it down into four stages. Those stages, composition, color, contrast, and character. These steps are easy to remember and we'll help guide you through the stages of creating a landscape study. I hope you enjoyed this class and look forward to seeing your comments. Make sure you check out my other videos by clicking on one freefall. And I hope you have a fantastic day. 2. About Gouache: Okay, so before we actually get started on our Painting project, and we'll talk a little bit about the materials that we're using. The paint that we're using is actually called guage. Now Gua, she's a water-based paint that's very similar to ward color. However, it does enough differences to make it stand alone as a medium. Quasi generally more opaque and chalky compared to water color. You can use watercolor from achieved to get a similar effect to guage, especially if you add white to it. But generally guage tends to be a bit more figure and you can get more of it, even coverage of color. Sorry, it's not as transparent as watercolor. Generally with watercolor, you'd lay out transparent colors on top to build up the body of the pint we squash. You put down more of an archaic column. Sorry, in that way, it's more similar to acrylic painting than watercolor. But it's also quite versatile because you can do a lot of similar techniques that you would with watercolour paint. We'd wash. So if you're used to using other acrylic oil pipe, then switching over to guage for your sketchbook makes life a lot easier because a lot of the techniques that you use with acrylic paint, oil paint, it can be replicated with Wash, except there's a lot less messy involved. So watch for example. It has a bit more of a chalky finish. So you say it's not, it's got no gloss to it at all. It's very smooth and non, non-quasi. Which means if, if you've ever painted with equivocal will pint in a sketch book, you'll know the problem that you have with pages sticking together because squash has this chalky solo appearance to it when it's finished, the pages don't stick together. So you can actually paint on opposite sides. Put the pages together once it's dry and it will come hard again really easily. Sorry. That's that's what I'm really good benefits of using washington sketchbooks. And as I mentioned earlier as well, because it has a lot of similar qualities to equivalent pipe. You can use a lot of the similar techniques that you would with acrylic paint. So if you'll usually using acrylic for logic works, you can experiment with smaller paintings and small sketches with wash. And it will then be easily transferrable to acrylic later on when you wanna go lodge up. So the colors that I'm using today and Alicia said, the pipe brand that I'm using today, is that a good combination of Winsor Newton and out spectrum. That spectrum, It's just basically watch, that's the only color I'll use the ASD spectrum. The ASD spectrum Gua, Gua is really good quality, gosh, it's a little bit more affordable than the Winsor Newton. And of course, because you go through quite a lot of why toilets are going to report a lot of what. I've got this really big tube of white squash. The rest of the chips that I use a really small irascible brands hogwash available. They range from very cheap student quality to more expensive professional quality. And like all art materials, you can't relate to working with your RAM budget. Then obviously, I'm going to recommend the Winsor Newton because it's a professional quality paint. It mixes really lovely. It's gonna enlarge even consistency. And I really enjoyed working with this brand. However, they are very expensive. So if you feel as though you only need to purchase I cheaper brand or you can only afford to purchase cheaper brand, that's totally fine, especially if you have ever used it before. And you're just experimenting. You don't have to go for the most expensive one. However, wash is actually really economical. So even though these little tubes are quite expensive and a little bit goes a long way. Like you really only need tiny, tiny amounts of each column. And because you'd mix it with water, it will go along. Y. Sorry. You'll notice that once I stopped painting, I'll start showing you how much paint I'm actually using the sketches. You'll, you'll see that you really don't need to use that much of it. I also have as well. I'm just gonna point out here, this is the tree that I generally you use. This is called a, it's called a width palate. However, it doesn't, as you can see here, it doesn't really leave them as witches alba block. But we've wash similar to watercolour. It's non-permanent. Sorry, that means it's reactive, writable. At dividable. Is that a word? You can reactivate it, even though it's quite draw, as you can see, this one here is quite dry. A little bit of spirits of water on top of that, or water on your brush and you mix it or above, it will reactivate, sorry, even if these paints dry in this palette. And she can say some of them are be dry than others. This one's quite dry. This one here is still nice and sticky. And even if they do dry, it's not the end of the world. You can reactivate them, continue painting with them. So this little tried here is what I have labeled my gosh paints in. The only thing that I carried with me separately would be the, the white. Although I do have a little pile of Wadia, sometimes I need, this gets a little bit contaminated with other colors. I tend to squish out like a, some fresh watch. While I'm painting. This little palette here is really handy to pair up with. Your schedule can take weedy, however, these little tubes, again because they caught small, you don't really need to have a huge, big sit up when you're taking a sketch book review with the goulash, you just need a little bit of a like a pellet. Now, a little try pellet. This pallet actually comes with, I'll just demonstrate this pellet actually comes with these watercolors, some tricyclics into the bottom. And then the lead clips on top. It makes it all nice and secure. And you can check that new, bad and good painting VD and this I just purchased is on Amazon. You can get them in quite a few places. Anyway. So that's the range of calls I have. There opens or Newton. How about for the, the painting that we're gonna be doing today? I've actually just bought down a bit of a smaller palette. Sorry. I'm gonna recommend that you work with a small pallet to start with. So a small selection of colors. Again, because I mentioned earlier, the Guassian paint can be expensive. You only really need to purchase to the 33 colors to begin with. And then you can build up on your collection as you go. 3. Materials: So the four colors that we're gonna be using for this class and that I recommend you purchase to begin with because they're good. Primary pellet would be Alizarin, crimson, yellow-blue, spectrum yellow, and burnt sienna. And of course what? Now these four colors, if you can see on the sketchbook here, I've just watched out both for colors and watch all the colors that are here on this page and this painting here were all mixes of these initial four colors. So you can say that if you only start with a few colors, it doesn't limit you in regards to your color choices. It just means that you need to mix the colors that you want. And if you spent a bit of time practicing, you can get quite good at mixing up a few different colors. So you can say that even just with this single red, blue, and yellow, with the Brown as well, the Brown comes in handy if you want to meet your colors. Burnt sienna and raw sienna. I really get bright colors to dulled down the vibrancy of your pains. So that's why I've included that one. But even just the basic three primary colors, you can get a good range of colors. Sorry. You don't really need to invest a lot of money in a big selection of colors. So, yes, so that's what, that's the paints that we're gonna be using now, brushes. And you wanna get these soft acrylic brushes. These are just cheap brushes. And I think a boat, this bulk pack from my local office works, which is a Australian stationery company. Sorry, they're not expensive brushes at all. But you do want to have this software colleagues is somewhat similar to the watercolor brushes. You want to have nice soft ends on them. You don't want stiff brushes. So for example, if I bring this one up here, this is a stiffer brush. See, have got lot more rough results. You don't really want to paint with this type of brush with wash because it's gonna make it really difficult for you to get a nice smooth, even coverage. These pressures will hold plenty of water and paint, which means that you can spin it around your pij really well. And also a little bit about sketchbooks as well. Sorry. The main idea behind this particular series of videos is going to be how to use squash as a medium to explore compositions in sketches in a sketchbook. So our travel journal, so it's not really meant for large finished works. Really were just working on learning how to capture a landscape or a sane quickly and efficiently in your sketchbook to then use later on as a larger painting. Sorry, the sketchbook that you use is important. So my kids are running around in the background that's there. The stampeding noisy. Maybe either you have the paper that you have in your sketchbook is going to be important. Because you don't want your sketchbook to be too thin. So a lot of sketchbooks will have really thin. A 180 GSM paper. You want to sketch book that has at least 300 years and you need to think of guage In a similar way to watercolor in that it will soak into the pipeline. And so if your paper is to theme, you get a lot of warping and you'll get a lot of distortion. And the finished paintings that really won't stand up that well. Sorry. This one is actually by HR. If I hold it up, he might be RG. And it's coming from a company called HR. And they produce a range of different size sketchbooks in both hot press and cold press papers. All this sketch books have at least 300 GSM, that white paper. This is the hot pressed version. I prefer to paint with or on hot press paper rather than cold press Piper. It tends to have less texture than cold press. The surface is a lot smoother. And that means I can get a lot more detail in my sketches. So you can see that this paper is quite 50K. I can paint on both sides of it. And it's not transparent at all. So you can't see through the piper ones have painted on it. Which means you get a lot more out of your sketch books if you can do that. If your paper is thin and you can only paint on one side of it, really, you're only using half of your sketchbook, sorry, by having a book that is has paper in a thick enough to paint on both sides means that you go into get more pages that you can use. So this is the sketchbook Rockefeller she views, but again, similar to the pints. If you have a budget that doesn't quite extend to purchasing and more expensive sketchbook. You can get cheaper sketch books as well. Just say How you go. I'm not going to go out and tell you to purchase particular materials just because I am using them. And it's really important that when you're creating, you're not worried about ruining something. You've spent a lot of money on, which can often happen if you invest money in expensive materials. Sometimes it can hold you back in that you don't want to ruin these expensive materials. So sometimes purchasing cheaper materials is better in that regard because you're less likely to be worried about ruining it. But cheap materials are also going to have cheaper finished results. So just keep that in mind. Sorry, besides that, beside your plate, she rushes in your sketchbook. All you need is a palette to make sure paints on n some freshwater. I like to have two containers of water with me when I'm painting with wash, one to wash my brushing and want to use as water to water down the paints. If you use your daily water to mix your colors, you can get dirty colors because the glass is in the Deity piped water and it will transfer to your colours. So by having two different jars of Washington water and clean water, you can kind of minimize that happening a little bit, but that's basically it. So yeah, I'm going to go through what we are going to be doing in our project now and take you through the steps that are will use to create landscape sketches. And I'll see you in the next video. 4. The Four Cs: Okay, so the technique that I'm going to take you through today to help teach you the way that I create landscape sketches in my sketchbook. I've broken down into something that I like to call the full say's. Pins, just pencils, birch bark in four says, now this is not an original concept that the steps that I'm taking me through a common steps that allowed us to use when capturing landscapes. However, I've just coined it the full say's to sort of help you remember the steps in an ESE RY. And sorry, the full steps that we're going to be following when we're thinking about creating these little landscapes is composition, color, contrast, and finally, character. So these are the four steps that you're going to be thinking about and going through walls producing these little landscape sketches. Sorry. The reason why I've given them these little labels is to hopefully help you remember them. So that when you're out on hold IT Zola apps on the field sketching. You can try and remember these full steps to help trigger you to put together your sketches in a cohesive white. Sorry, the first thing that you need to think about is, of course, composition. By spending a little bit of time thinking about the composition before you begin painting, you are going to make sure we didn't make too many obvious mistakes to begin with. Color is another, the next thing that we're gonna be talking about. And this refers to the colors that you're going to be using in your artwork and also the positions of the colors. And this is the first part where we actually put some paint down the colored section you actually blocking where the color is going to be. The next one is contrast. Contrast is probably one of the most important elements in sketches because by adding in contrast, this is where you get depth. It's where you get well understanding of the placement of things and also how Locke's working within the landscape. And finally, character. And the character refers to adding in those little details and unique touches that make that particular individual and unique. It can also mean adding in your own personal flair to the sketch and adding in the elements and details that make it a bit more original. So ideally, it should take no longer than 20 to 30 minutes to complete these sketches from start to finish, including all of these stamps. So the idea is to capture the essence of the landscape without getting too bogged down into details. Sorry, but only spending about 20 to 30 minutes on each sketch. Means that you will quickly capture the essence of landscape and blocking with the details out without getting too carried away, with making it look really realistic. Sorry, by focusing on a limited palettes as well, it's going to help minimize the overall color choices and help maintain a cohesive look within your sketch. Sorry, that's why they uncolored section is important as well. For all of the sketches that we did today, I'm just going to be focusing on these colors. However, if you have a large pellet, Locke's swan, you can obviously choose different colors for H sketch, but you still need to spin liquid Tom thinking about that, sorry, that's how we're going to be running through these steps. I guess. So, yes. So I'm gonna clear this out the way. Come in with a fresh page. And because I'm obviously working from inside, I'm gonna be working from a reference photo. So I'll bring that in as well. And we're going to start the first step. 5. Stage 1 Composition: Okay, so this is the image longer-term easing as my inspiration for these, this sketch. This is a photo that I took on my way to a holiday in New South Wales. If he is Gary. Now, I'm not going to copy this exact layout, but I am gonna use elements of it to sort of build up my RN. Unique composition. Sorry, this is where the composition step split a composition stamp of the three say, process comes into it because you may have a saying that you were looking at all, that you have an image of, that you really like. However, there might be certain elements in the image, Ola, the location that isn't really going to work with your sketch. For example, there is a lot of information and darkness in this foreground area here. And this tree is actually quite large. However, I lock the fields, I locked the wall flowers, and I like how it goes back into the distance here. So what I'm gonna do is just sketch out a few thumbnails. So thumbnail is basically just generate a small rough vision. And I'm going to use these little thumbnails to sort of experiment with some compositional ideas for these particular landscape inspiration. Sorry, I'm gonna do one with the horizon caught high. Because there's like this matching range up here. I'm just gonna, you don't need to be super detail with these ideas. They're just meant to be a little rough concept sketches. So the landscape kinda goes like this. I like that little trig in there and I lock the paddocks, that document say there's another little row of trees in here, which is really good for showing distance. I'm going to leave at this area in this sketch just to say what a corner looks like without edge. And I'm gonna make this train service one tray on its aren't going to make it a bit of a cluster of trays. Instead. I'm just gonna cover that in to show that scene in the foreground. Okay, and so this does come down here. And then over here, I am going to add in not all of these, but just some of the sort of the wildflower Kata book in the foreground. So I'm going to stuffy Datsun dashes and things to indicate this bit of a bit of something happening in the foreground here. So I have a dark enough background to beat their food. Now Patrick, in here, there's actually a row of trees actually come down. So I'm gonna make that a little bit darker. Just to add a bit to contrast and to interpret that there is trees in there. Okay, so that's one quick rough idea. So I'm gonna see what it looks like if I do add in some trace in the foreground now, so I'm not actually add them in to begin with. It's going to add this rough sort of Bush shape and then make this one a little bit smaller instead of is because it is to help balance. And we were going to have the field that's in here with some trees running across it. And we get down into here are female fields in the distance. And then I'm gonna make this mountain range a little bit smaller. So not quite as pronounced as it is, so we'll color it in a little bit to make it look like it's behind everything. Putting some daka daka trees. Again, the shutter under that tree. Okay, so then that's another option as well. So you can see that I'm coloring in the areas with a darkness is going to be because this is going to help my my the contrast side of things to make sure that there is enough doc as well as light. Sorry. Now I think I'm going to do one more hour. I'm just going to actually crop out the foreground total bh and remove this train tiles. Make up setting in the mountain range to be more. Okay, so this actually, if you look closely, there's actually detail that you can pick up an atom sitting like that, the edge of it. Another way, what's changing here? So if I take out this tree here, there's not gonna be anything big. Sorry, that means that I can put it in a bit more detail with some tracing here. I can bring the foreground shrinks a little beach, and then have more detail in a paddock like that. So these are just three different sort of composition options that I have based on just this photo here. Now might actually, I'll probably end up painting at least two of these just to show you how you can vary up your composition a little bit. Sorry. As far as balanced gardens, I think I liked this one. This one. I could probably bring a bit of interesting here if I take that out. So Almaty, this one as well. And I went to that one for now because I think there's this big area of stuff here. I don't think that's going to translate to Well. So the first thing I'm gonna do is this sketch here. So now South decided spent 14 minutes on my composition. I've now worked out what it's going to look like. And so you can see that I've typed up my little sketch book page here. We just, uh, an edge of masking type. This is just stop simple low-tech massing type II and express it. Sorry, because I like, as you can see with the other image, so Don I do like to have a bit of a border around my sketches. I think it frames it nicely and it finishes off the edges nicely. That's what I've done here. And so now I'm just going to translate this sketch onto the sketchbook. Said that I've got a bit of a starting point when I start painting. Sorry, gets really, really loudly. I'm not going to going to dock with the sketch because it's mostly going to be covered over any way. I am going to add in a little bit more detail and where things are going. So this MATLAB, as it comes closer, kind of comes into being. Is paddocks backing here. I'll put that little tree and I might add a few more little trees. This area in here has some trees in Cherry Hill with the tree line implicit tree. This tree here just going to loosely blocking, I'm gonna make it say two trees. So make a slot is small, one, make sure I've got the shutter is in place. And then put a little bit more detail in this area here, which I can add in with pipeline or identity to go too crazy with employment. And I'm not going to, I will just put a few gestures here to indicate there is some stuff in the foreground. And I'm going to write that, putting that in just yet. Okay, sorry. This is like a fairly simple sketch. I have something to follow now. It's gonna make sure I add in the contrast and the darker areas where the need is like that. Okay, so now I've got my rough plan. Obama composition all done. So that's step one finished. So now we're gonna move on to the next step, which is thinking about color and blocking in some basic colors. And yes, so join me in the next video for the next day. 6. Stage 2 Colour part 1: Okay, so now we're going to start thinking a little bit about color choices. And now you can use the colors directly off your refunds or of what you see in real life when you're sitting there sketching. However, even if you are going to do that, it's still a good idea to have me to think about what you're going to be using to create those colors. Now, I'm using a limited palette. And I always recommend starting with limited palette because we'll set that's gonna do is essentially narrowed down the choices that you have to make. Because really there's an endless number of choices that you can make in regards to color, sorry, by purely just limiting it down to a few different colors to choose from n the mixes of those colors. And you're gonna make your life a lot easier. So I'd recommend sticking to at least throw full colors. And now I also found it easy to decide in the beginning if you want it to be a warm or cool pellet. Now I really like the bright yellow that's in this foreground here and how the paddocks continued with the yellow for the back. So I definitely want to incorporate some yellow in this painting, sorry, purely by making that decision. I know that I'm gonna be working with these booms, sort of green, yellow, and kind of Tarjan's. Sorry, because I'm using those times. I also want to incorporate the opposite. This is called a split complementary. So a complimentary colors, the opposite on the colour wheel. So you've got your fuel colors, blue, yellow, red. You've got the mixes in between. And it's the complimentary would be, for example, if I chose the yellow, the split complementary colors to the yellow would be the red purple, and the blue purple. So these are the colors that are going to be focusing on using in the shade and in the shadows. And in the highlighted areas are going to be using the yellow and the suitable grainy yellow turns. So just by making that simple decision, they icon in Nauru Before I start where things are going to guard. So for example, the further back into the distance, I'm going to be using more purposeful in colors. And as I come into the foreground, I'm gonna push it around to the yellow is because that's going to create depth. So once I've spent maybe five minutes thinking about that, and the more honestly, the more you do that, the easier it's gonna be. I know I glossed over that really quickly, but this just takes practice. And sorry, the more you do it, the easier it will get. Sorry, I'm just gonna get stopped painting though is because I'm not going to dwell too much on color theory because that's, that's a whole nother video. And so you can see here, I've got my paint slider as well. You can say, I've only got small amounts of each of these colors admit laid. That's even probably tree much. This'll probably enough paint to do at least one or two. I may have to re add in a little bit more color here and there as I use it, but generally speaking, probably not. And in these mixes of law, I haven't used the Brown, but I will use the brown. And once I start mixing colors together, I also like to have two separate pools of what the wind can get quite muddy and mixed up. So I'd like to actually, there's at least some fresh watch to choose from and plenty of room to mix in as well. This is just a plight again, because it's a water-based paint. This will just wash off. It's nowhere near as missy is acrylic paint. Acrylic paint. If I was to put this straight onto the ceramic dish, I'd have to do a lot of scrubbing to get rid of it. Washes again, more similar to watercolor, in that it will just minutes away with water and there'll be no traces of it left afterwards. So I've got my two parts of water here, which I don't think you can really say that well, but trust me that they're here. There's one for Washington brushing and one for just using it for the water. This is the brush that I'm going to be using. And I actually as a lie, I'm going to go to a slightly be gone. This is the question for me is to begin with. You can say that in relation to the scale of the sketch, it's actually quite large. For this size sketch. You know, people would sometimes, if I have a bit of a foreign firm, you might be tempted to start with something ran the size because you think, okay, it's a small brush, this small details and they do something like this. We will eventually come to something that size. But to begin with, you really should start with a large brush so you can get some fast washes down. 7. Stage 2 Colour part 2: Because the first is color stage, which is step two, is a blocking the general areas of color that you're going to be adding to the painting. And you can do this is actually quite transparent compared to a lot of the other layers that you will do later on as we sort of progress with the painting. But to begin with, you just want some lot washes. So I'm just picking up a bit of that. The natural croon swapping has quintupled scholar forgotten now. Sorry, it's Alizarin, Alizarin crimson and the fellow blurry. And actually I'm not gonna do, I'm gonna start with the sky. I work from the top-down. So whatever is furthest away, that's where you begin and then you come forward. So obviously I wasn't mixing up the color for the mountain rage, but I forgot that there was actually sky in this. Sorry, I'm actually going to mix up a bit of a sky color instead, which is basically just the failover blue and some white just to large snatch. And I'm just gonna use that to quickly blocking in this sky area. So you can see the y there. I've got the pipe mixed at the moment. It is actually still a little bit transparent because I have only add in a little bit of white. Say by the way, would that sketch line you can still say the lawn of the sketch underneath. That's what you want. You don't want it to opaque at the minute. For example, if I add a bit more watch to the mix and coming up with some sort of cloud shapes can see how that's a lot more opaque. You don't really need it to be that thick at this stage. You just want it to be sort of transparent still, because these are just washes. So now that I've done that, I can now come to this purpley color to m gonna come in and just blocking the furthest mountain range. And as I come closer, I'm going to go a little bit more deep with the purple. And because this layer is also a wet, you can see as well if I zoom in a little bit here, can you see how it is bleeding slightly in a single sort of effective watercolor? I like that effect. Sorry, I'm happy for that to stay. If you don't want that effect and if you want your edges to be a lot more crisp, then just wait for it to dry and it won't believe as much. This area is a little bit dry off so you can see how it's not leaving as much as it is up. That's because the water is sorry, the paint is wet and the paper is wet so it's bleeding a bit. But I actually quite like that. I don't want that effect. So I'm just going to continue blocking in various shades of purple. Just to give it a little bit of dimension. You can even adding a little bit of the CNR to sort of alter the color a little bit because you don't want it all to be the same color. A lighter pink case. And as I come into this one, which is a little bit more into the foreground, I'm gonna go a little bit blew up with the mixture. Go right over the top of your sketches. Well, don't be afraid to pined over what you've already sketched in the end because I mean, I remember that there's a tree there, so I don't need to worry too much about forgetting that it's there. And a little bit more grey. And as I'm coming in, you can say, I haven't gone too far down. He out storage is moving along this line. And we're gonna add a little bit more of a a Dhaka. Clinton down the bottom here. Just to indicate that this is some, a lot of trees there that's kind of in shuttering as well. And there's some darker trees vacuity that I'm gonna feeling. Okay, so I'm going to zoom back out a little bit so you can see what I'm doing. Now. I'm going to start coming in with some grains into this area. So I'm going to mix up a bit of a Dahlgren because I'm going into this messy Polish. I don't want it to be too vibrant, too quick. So it makes up a bit of a grain. Just block in that backpack a beach. And you know, a little bit around here as well, just to add a bit of variety to m, might actually do this middle p-adic in this green as well. Okay, I'm gonna go a little bit. Lottery money. You don't want them all to be the same value. You do want to change the value a little bit in between. Otherwise, there will just gonna blend into a Java. Sorry, laying in that blocking amaze by scholars is going to help you to work out where your contrast needs to go and where your data's nature guard. So I want to make sure that these, these panic in the middle is a different college and one that's behind it, behind a tree. And as you can see again, if we zoom in a little bit, you can still see my sketch through the wash services semi-transparent Wash. It's not totally solid. Sorry. As I come in to this area here, I'm going to add in, I'm not going to add in the detail of this clump of trees, but I am going to add in a little bit of darkness data. Just to help. I'll go back in with the, with the people in colors that I had before. Just to help define that area. Or I think I've ever seen that simply adding an extra layer, but that's okay. Whatever, it doesn't matter. Ok. And so now as I'm coming into this, this area here, which is obviously closer in the foreground, I m going to become a little bit more vibrant with my column. But I'm not gonna go to lie to begin with, because this is just the first wash and we will be building up a few layers on top of this. Again, I'm going to put a rod up the takeaway that trace meant debate. And Rod over top of the sketch. Here as well. Just mixing a few of these colors together to add a bit of dimension because I didn't want that wash to be all the same color. It's going to come in a little bit darker as it comes closer in which because where these wild flowers and things are. Okay. So we've now got the basic kind of color scheme they're going to be going for. And because this washes wet, i'm not going to add this train just yet. If I at that train and it's going to bleed too much like a deep back here. Sorry, I think that's all we can really do for the stage. So this is the color stage. So this stage, just to recap, I've chosen the colors that I wanted to use ongoing for the split complementary. So focusing on the yellows and the foregrounds and the shadows are going to be these purple colors based pretty much off the Sardar. I've done a translucent trend, translucent wash of colors in the places that they're going to be. And now I'm going to let it dry. And we're gonna go into the next stage, which is contrast. 8. Stage 3 Contrast part 1: The next step in this four-step process is contrast. Sorry. The whole goal of this particular step should be to get your balance of your lights and darks. So you'll notice that at the moment, everything is very midterm and there is no real dock areas, is no lot areas, there's no contrast. It's all just flat, even color of mostly the same sort of value. So value refers to the lightness or darkness of the colors that you're using. Not necessarily the color, but the light and dark in color. So at the moment, if you turn this picture black and white, you'd say that most of these trends are very similar. So we're going to be boosting up the contrast. And I'm going to start by using the same brush still. And I'm gonna put in the docs, sorry, I find it much easier to put docks in now because sometimes you can add in a little bit too much light to begin with. So by adding in the docs, you can kinda get an idea of what the balance looks like before you go too far. So again, if you remember, I had beforehand I said that we're going to be using our dark purple, our peoples as docs. So I'm going to be making up a purple. I'm going to add in a little bit of the CNR as well. Okay, and the first thing that I'm going to do is blocking in the shadow area of these bushes that are in the foreground. So I'm still using quite a big brush. And once I've done that, I'm also going to come in and adding the dock areas. It's kinda a little bit loose that mixture. The dark areas of trees that are in here as well. Touches, I don't wanna go too crazy with it. Make some areas over here would be Docker as well just to bring the eye down there. So now that I've done that, kinda add little bit of what to this mix. And be mobile or I'm going to just cut poppy and the rate of the shadow onto the tree here. So you can see that straightaway now though, put those docs eaten. Now the MIT Chines, I'll looking much lotta, but it's still not quite at the stage though, want them to be as I m also before I forget discovery to adding some shutter. Here. These bushes and things that are in the foreground, again, because that's going to help me within balance a little bit. So now that I've added some darker values, I need to come in and adding in some larger values as well and sort of alter some of the times. Sorry, I'm, to make that a little bit more. There'll be more defined over here in a little bit more lightness. Just to neaten up. You can see it's also a little bit hazy, so I'm gonna make it a little bit larger as well. Maybe I've actually bought it Dan a little bit too far, so I'm going to bring it back up again on the size. And I'm going to add just to cool it down a little bit because it's looking a little bit better. It's looking a little bit warm. So you can see now that the consistency of the guage of DOM using now is much more opaque than it was to begin with. So the more white that you add to your colors, the more I paid the colors are going to become. So if I add more, watch these color, you can say doc and pint right over that. And I can cover up what it was underneath. Sorry, we're going to come in with a bit more of that balloon. Time for this next. Nat. And I'm just going to, I'm not going into too much detail. I'm trying to keep it not abstract but very loose and sort of it expressionists because I don't want, I'm not going to sleep ultra realism here. And add a touch of grain. As I come in a little bit closer. Just trying to break up that area because I don't want for him all Jimmy losing and see what I'm doing. I don't want it see how it was quite solid before. I want to break up the area so it's not quite as solid. In regards to the times. And I'm still using a very big brush as well. So because I want this to be very loose eyes, really dark launch the smaller bursts that you use, the more tempted you're going to be to use that brush to create a lot of detail. And I'm really not interested in detail at the moment. Day towel comes a little bit light up when we start working on the character of the sketch. So at the moment we're still really working on just the contrast. Sorry, I'm going to come in with a lot of color. Blue, little touch of red. And I'm just gonna touch it on the edges here, just to define that these two mountain ranges a little bit more because it was getting a little bit a little bit lost. A little bit more water as well. I can come in and with the hazier area. And there's actually a little watch a grass sort of color back there as well, which I might put in because that's going to help. We'd say depth as well. Okay, so as I come down into this area here, I'm gonna make the color a little bit more green. But still keeping it quiet. And I'm just going to fix up these villages. 9. Stage 3 Contrast part 2: Okay. And I'm also going to make this guy a little bit more vibrant. I'm just gonna do that by adding in a bit more of that cloud data. So it's a little bit more. So you can see my palatability isn't quite enough. Mixing up. It's not completely white even though it looks like it is very, very powerful. And I'm just gonna use that to just touch on sky area or a bit just to bring up a little bit of a cloud. So now I'm going to start moving into the yellow and bringing up the contrast in Martin's, sorry at the moment. It's basically just shutters and mittens haven't really added a lot of sort of vibrant colors. So I'm going to have, I'll create a yellow, a green to come into these areas here. Again, I don't want to cover are the everything that I've just done. But I do want to bring a bit of life into this area. I might add a few touches of it here as well. And I'm going to make it a little bit more yellow via touch event Sienna as well. And as I come into the area here. This needs to be a little bit warmer. Smoke watch woman, not yet. Let's give it up. So let's get into a bit more time. Sometimes like I'm not getting the colors exactly how I want them straight away. But because squash has that capacity to it, it really doesn't matter if you don't get it wrong. It's not black and watercolor, which is, you need to be really careful with watercolor when it comes to choosing the colors and putting them down because watercolors more transparent. Sorry. If you put down a color in the wrong place, there's a good chance of that color will show through underneath afterwards. Whereas with wash. That's a lot more flexible in that in that regard. Because it really because it's opaque, you can go start out at the top of things without having to worry too much about what was underneath it. So you can fix your mistakes. Sorry. That's what makes it a really great medium for beginners and artists that don't have a lot of experience just yet. Okay, so now I'm going to bring in some lightness on this trade. It seemed a foreground. And for that I am going to switch to a slightly smaller brush. So now go on to see what this one, this is a half inch and this is a size six. So I can say it's liquid smoke, excuse me, little bit smaller. Just so I can get a little bit more detailing here. Alright, sorry, I want this money, you need a bit more yellow. See, you haven't used much of the red or orange, but I have used quite a bit of the yellow and the blue. Sorry, just for reference in regards to how much paint name, I'm going to add a little bit more yellow to make it opaque. So I'm going to use is going a little bit in the foreground as well. Just because I have it on my brush and I didn't have to waste the paint. Sorry. I'm pretty happy with the contrast in this at the moment. I feel like this area here needs to be a bit warmer still. But as far as the lots in the docs guard, it's looking pretty good. And you can definitely say the distance in this already. Sorry. That's a pretty good indication that your values rise. It's gonna lighten up a little bit. So the next step that I'm going to go into is going to be cold on. This is where the character comes into it. Sorry. Now that I've got my bones implies I can add a little bit more character and a little bit more personality to this by doing a few things such as bumping up the vibrancy of some of the colors, adding in some details and things like that. Sorry, thats going to be the next step. So join me in the next video. 10. Stage 4 Character part 1: I can't sorry, this last step is the character. And this is where we're going to add a little bit personality and a little bit of individualism to these little sketches. Because at the moment we've just been working on getting it as close to the reference further as we can and getting the general feeling correct for the thing that you're trying to patent. Sorry, now that we've done that, we can kind of be a little bit more adventurous and adding a few more vibrance punches of column into a few different areas just to make the whole painting lift a little bit. So the first thing I'm gonna do is as you can see this area in here, I actually want to enhance the vibrancy of that. So at the moment it's looking a little bit dull, so I actually want to punch a little bit more color into this area. So I'm going to add a wash of almost pure yellow with a little touch of little touch of the reading edge. I'm going to go all the way over here with it. I'm also going to come in with the same color into the background here because you can see that the same color travels further into the background. Macondo lost that a little bit. So I'm going to patch that image J. And now I'm going to add some y. Simplified my brush strikes, and adding some highlight areas. Okay, the next thing I'm gonna do is I'm gonna fix up this trail a little bit because I've added a little bit too much and highlight this area really should be more in shadow because the sun's coming from this way. I'm going to come up with a shadow color. Ct is Doc. I actually got to this. Kind of need a bit more blue pine that's still looking a little bit bored. I want that to be a bit of a cooler color. More in the blue spectrum is I'm gonna come in at that shadow in a bit more. Extend that out as well. Now again, what I'll actually was either at a certain color into a composition like base, I like to make sure that I add it into a few different areas as well. So it's that's not the only place it seats. So I might easily in here to darken up a bit of background area, please, that would be on the tree area here. Maybe a little bit over here. Say now that I've done, that is the grain in that tree. It's actually a little bit cooler than what on earth. So I've gone so forth over a yellow wheat grain, but it's actually more the blue timed grain. So I'm gonna come in and just alter that a little bit as well. Just turn that down a smidgen. And at that high lot, at some of these screen into just using j, the foreground as well. Touches if it in the background. So you can see that I'm just adding a little pops. More vibrant total times here and there. Just to generally lift the whole skip. And you'll probably notice as well that guage tends to dry a little bit darker. It's quite similar, rename them with acrylic in that manner. Ah, sorry. Even though the areas that you think you come in with lotta sort of colors that don't always, necessarily stay that way once you 11. Stage 4 Character part 2: Once it's dried, sorry, you may find that you have to sort of come back come back in again and lighten some areas up again. That's going to let that dry for the second fairness. And I'm gonna come back to my smaller brush and let it out a little bit more detail into this foreground area. Maybe some little kink wild flowers. Sketch it here in a second and get some variety. Areas of loudness back there too. Some highlights. So the final thing that I'm going to come in with, some pure white, which I'm going to use to adding a few pops up highlight here in the first place millivolt it is again in the sky here. Just to add in a bit of clout. Also going to add it in the foreground. Which can say there is some little wildfires, more grasses and things in here. I can see I'm not drawing stalks or going even into too much detail with this, these things in the foreground data because you can, you can, you know, every artist noise that you can go a little bit overboard with things like details and, and highlights and you can call it a guard. A little bit gray gray with it. Sorry. I'm trying to avoid that. And also if you're if you're if you continue to paint over the top of guage, that's still a little bit wet underneath the tree colors at your piety Anaconda gonna believe in together. So you can see that I'll put a highlight in here a few times now, but the width, height on Theta's just select that colour back up again in the highlights kind of disappeared. So I really need to wait for that area to draw a bit more before I can add in any more highlight on there, it's just gonna keep disappearing. So I'm just going to focus on some of the areas down here in stage, while that's drawing bead. So I'm using a bit of artistic license here. So you can see that this is a bit of a hodgepodge. You can't really tell what's going on here. So I'm just creating some areas and pops of color in the way that I feel. It needs it to help lift up this area. And I'll paint a bit of a bad patch down there as well. Sorry. I'm pretty happy with how that is. I mean, you can just keep filling and filling of willing if you want to EBIT, I need to stop this video eventually. Sorry. Now comes the BSB. I'm going to peel off the tape and reveal the nice clean edges that we have. A little sketch. This is the most satisfying parts of the video. Now another tool that I like to use as well, just to add some last minute day tiles is one of the pins. So this is just a what? Japan is basically a pint pin. This has a fairly small liberal Annette. So it's really good for adding units, small details, saves pushed down a few times to get it started. And then you can add in. And this might be some wild flowers that have spread out into this middle row here and some details into the foreground. And it's just another way to add a bit of character. I use these Quad law on, in my large paintings is gone. So they, Gary, so that's, that's my finished sketch. So again, this is the reference. And this is what I've ended up with. Okay, so I'm gonna do one more sketch. However, I'm not going to go as step-by-step as I have the last time. I'm just going to I'll just guard start to finish in one go. I may even speed up a little bit so that you can sort of watch the one guy just so you can see me complete another painting in the same sort of technique or with the same steps is what I have with this one. And then hopefully that will give you the confidence to have a gallery on your own. So I think I'm gonna use the same reference folder. And I'll use one of my other sketches that I made from this reference photo, again, just to demonstrate how you can use the same reference image through a couple of different paintings. Yes, sorry. Join me in the next video. 12. Timelapse part 1: In this case. Okay. No. Yeah. And so forth. Good. Do. Ok. Right. 13. Timelapse part 2: In this case? Yeah. Yes. Yeah. So seven