Limited Palette Paintings | Mandar Marathe | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

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

Watch this class and thousands more

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

Lessons in This Class

11 Lessons (3h 56m)
    • 1. Introduction To Limited Color Painting Course

    • 2. Demo 1: Midday Reflection - Part 1 - Composition

    • 3. Demo 1: Midday Reflections - Part 2 - Block in

    • 4. Demo 1: Midday Reflections - Part 3 - Details

    • 5. Demo 2: Sunset Clouds - Part 1 - Composition

    • 6. Demo 2: Sunset Clouds - Part 2.1 - Block in

    • 7. Demo 2: Sunset Clouds - Part 2.2 - Block in

    • 8. Demo 2: Sunset Clouds - Part 3 - Details

    • 9. Demo 3: Farm At Tamhini - Part 1 - Composition

    • 10. Demo 3: Farm At Tamhini - Step 2 - Block in

    • 11. Demo 3: Farm At Tamhini - Part 3 - Details

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Using a limited palette is a sure fire way to keep the color mixing simple but very effective.

Welcome to Limited Palette Painting Course!

I’m Mandar Marathe and I’ll be leading you through this course.

In this course I’ll show you 3 full painting demos using the M3 method of Painting and a limited palette of just 3 colors plus white. 

In each demo I go through the steps of composing a painting based on a reference photo, applying basic colors to all the areas and then painting the details.

You’ll see each color that I mix and each brushstroke that I apply.

I’ve also attached the 3 reference photos for you to paint your versions of these paintings.

This class is intended for beginner and intermediate level artists who want to make their paintings very impactful but avoid the clutter of too many colors.

So sign up now if you want to learn how to paint using a limited palette!

See you inside!

Meet Your Teacher

Teacher Profile Image

Mandar Marathe

Fine Artist, Sculptor, Illustrator, Designer


My name is Mandar Marathe and I am a fine artist, illustrator, and sculptor based in Pune, India.

Have a look at the classes that I teach here on Skillshare, see my projects and join me here to learn from me and feel inspired to create your own masterpieces! You do not need any previous knowledge or art experience to benefit from my classes. I'm here to answer any queries you might have.

Join in!

Follow me on Instagram to see my latest work and timelapse videos!

 Happy art making!

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Introduction To Limited Color Painting Course: Using a limited palette is a sure-fire way to keep the current mixing simple, but very effective. Welcome to limited palette painting quotes. My name is Mandarin Marat AMR, fine artist and sculptor. In this course, I will show you three full painting demos using the N3 metal of painting and a limited palette of just three colors plus Y. In each demo, I'll go through the steps of composing a painting based on a reference photo. Then I'll go to apply the basic colors to all these areas and then paint the details. You will see each color that I mix and each brushstroke that I applied to these paintings. Also attach the three reference photos for you so that you can paint your own versions of these paintings. This class is intended for beginners and intermediate level of artists who want to make their painting impactful, but avoid the clutter and confusion of using too many colors. So sign up. Now if you want to learn how to paint using a limited palette, the method of color mixing that I use here with oil colors can be used in any other medium that you want to paint with. It could be accurately wash watercolor, or even digital tools to see you inside. 2. Demo 1: Midday Reflection - Part 1 - Composition: Now let me explain what you see on your screen right now. This is the scene of my Canvas. This is a cotton canvas. I've taped it to a board, and I'll be using this as my palette. This is a glass palette with some gray paper below it so that it's not completely white and it's easier to mix colors. Then I have photograph, which is, which you will see here, which is the reference photograph. And I'll be using one or two of these brushes, mostly these two these are two extra ones which are of the same size. So size-wise, I'll be using just two size sizes of brushes. And the colors which I have our civilian Lou and I have Alizarin crimson than I have yellow ochre and titanium white. And this is some linseed oil which I have in this small cup. And I'm wearing these gloves because I'm recording this violin, I'll be painting. And I don't want to get the oil colors on my computer. So whenever I want to switch an angle or to stop the recording, start the recording. I can just take off my gloves and I have my clean hands with which I can touch my computer. The first thing which we do in the empty method is do the composition based on a photograph. And you see the photograph. I've already shown you the complete photograph. And out of that, what you see here is just a small portion of that photogram, which is of interest to me. And based on that, I have done these two compositions. So this is the first version which I tried of composing. And too small, a large tree are smaller tree, Anna, even smaller tree. And this is the background mountain. And I have a rectangle shaped canvas. And, but I didn't like this composition very much. So then I tried another version in which I've enlarged this tree so that it goes above or out of the canvas and get cut. It gets cut. And then there is a smaller tree which barely fits within the painting. And then there is a smallest scrub and there's this land. It can see that in the photograph, the bank of the river or a lake, which there in the photograph here is actually completely horizontal line. But what I've done here is I've changed that line to slightly angled line so that it looks much more interesting and it doesn't stop the viewer from entering the painting. So these lines are very important. And I'll be showing some few small shrubs here. As I progress, I might change their position and color. Obviously, there'll be much more lighter and bluer in color than these trees. And that's the composition part of the M3 method, which I talked about. 3. Demo 1: Midday Reflections - Part 2 - Block in: I'm using my colors and draw this composition which I've done on my canvas. Let me zoom out. So then you see the complete canvas. Yeah. And now I'll be using let me wear my gloves so that my hands Serbian clean. Actually is I find it uncomfortable to work with gloves on. But then for the sake of cleanliness, before touching the computer, I need to wear it. So the first thing what I'll do is make an outline using this blue color and we'll keep it very thin. I'm not using any thinner. I'm using just the or turpentine I'm not using or any other row thinner I'm not using. I'm just adding this linseed oil whenever I need to thin the paint because I want to be as less toxic as possible. I want this environment in my studio to be as less toxic as possible. So this is the base of the mountain and the mountain. And we'll actually go like this. And this is the line of the pond. And the big three will be somewhere here. I want to keep this fairly loose so that while painting I, if need be, I can modify it. And this is the trunk. And there'll be a shadow which I'll be showing this way. And then there'll be another three. I don't want these trees and bushes to be equidistant. So I need to take care of the distance between these. I don't want to split it in half. So what I'll do is I'll shift it slightly towards this. And I don't mind, this tree overlaps that. And I won't show a big trunk here, I'm just showing it as a shrub. And this is also filled. And as in any opaque medium, I'll be starting with dark color first and then go on to add lighter ones, lighter values. And just to make things slightly more interesting, this is what I did not plan in my composition, but then. I can do that now. I increase that this water body to extend beyond this point. And I can show some light color of the of the water here. And there'll be some slope here. Who the landmass. And I don't want to keep this line Bering Straits. I'll just make sure it has some variation in it. And then be the reflection of this tree here. I won't paint these reflections in lot of detail because those are not the focal point of my painting. Something like this. And let's see how this goes. So I'll be starting with darkest, dark, which is going to be these trees. I'll just rub my cloth over this because I don't use any turpentine and just use linseed oil, it becomes sometimes it becomes too slippery. And to avoid that, I can use a paper towel also. Who lift some of that oil. And you can see I've lifted some oil from the air. And now I'll be using a larger brush. And I'll mix dark, dark, dark green. So we'll start with this. Alizarin crimson is a very, very strong color. And to make it green, I need to add some yellow to it. It's not yet green. Yeah. Now it's it has that tinge of green but it's very, very dark. No, let me start by. I will be applying this colour. Thin manner. I won't be applying very thick strokes. Because in oil painting, you should paint all those dark areas as thin as possible. And paint the lighter areas as thick as possible. So that adds to the beauty of the painting. And it also suggests that it's not solid shape or there is some emptiness. Two the US to do this tree, there are, there is lot of space in between these. Branches and foliage. I don't want that tree trunk to be very, very straight, so I'll just make it slanting a bit. Now I need to make this slightly more greenish so that I can use the same color as the dark on this side, on this tree or bush, whatever it is. You can see that I'm applying it very, very thin, as thin as possible. And again, that created somewhere here also, maybe here. And similarly, the log of this push dark side of this bush. Now the next darkest shape would be the mountain. And for that I'll just wipe my brush. I don't wash my brushes too often. And whenever I need to. I just clean it like this with a rag. And then if required, I just wash it in safflower oil. And I don't use turpentine even for that. And now let's go and paint this mountain, which is going to be the next dark shape. So for that, the base color would be, I want to show some light coming in from this side. So this side will be darker blue. So I'll start with civilian again. And some crimson is a very strong colors and I need to add it with caution. And I want to add white to it to make it thin, light, not thin. I don't mind being slightly more pink. That's too much. This seems to be good. Add some oil to it. And I'll see if this looks good. I would prefer it to be even more light, so I'm adding more white to it. Even more wide. Let's go ahead with this. Some more oil to make it flow. I don't want this mountain slope to end here, otherwise it will attract a lot of attention. And that's the reason I'm pulling it back up. Same color will go here. I would have referred this color to be even light, light thorough then what it is coordinate z. I might come in later with a lighter color and, and just it, but let's see how it goes. It's all relative things. So if the other colors look, make it look better than I need to change this, but otherwise, and have to. So now, since I'm changing to a more reddish color, I'll be wiping my brush. But I can do. That reminds me that I can add color to this one using the same brush. So I'll be adding, making it slightly more blue and light. And let's see how this looks. Looks okay to me. I might add more white to it. And the thing is what is not having same color all over. So it doesn't matter if you apply different shades of blue in water and making the color even lighter for US near the horizon. On near the base of the mountain. You need to have this line perfectly horizontal. If it's not, then it looks very, very odd. And to remember to add this color here also. Now I have made this perfectly horizontal. But in video it may not look like that because of the camera distortion. But I'm, I have made it perfectly horizontal. And I'll be showing some reflection of that in this water also. So it will not be as black as this right now. And I have to make the water slightly darker as I move towards the bottom of the painting. So I'll be using this color, some white here and there. Just to add variation to the surface of the water. I won't be mixing this too much. And now let me add that reflection of the mountain there. So for that I'll me need to make the color slightly dark. And this, and that reflection here. I can come in later than does the foliage of this bush. This me, this book. And I don't want this ADR director a lot of attention, so I'm not increase the contrast here and just make sure that it is a light up line here. Now let's come to the next idea, which is going to be the good. Now I'm watching my brush so that I don't have to use turpentine because that gives me a headache. I could have painted and I'll build these later. Since I've watched the breath now I'm landmass post. So for landmass I need color. So I'll be mixing red and yellow. And I need more white, slightly more reddish. And I wanted to kind of make this lightly HDL. That's when add a tinge of blue from here. The color I want to get the saturation slightly lower. I don't want that color to be vibrant. So I'm adding this blue just to kill that brightness. And then see how this looks. Some oil in it. Yeah, looks good. I'll vary the color and pit in some places. And I love to paint the shadows of the tree without darker color. This is where a lot of beginners mistake of painting the channels also VD. And the shadows are actually of the color on which the object on which the shadow is falling, but slightly darker than the EDR, which receives direct light. And I don't want this line to be very, very sharp sign just grading that. Just running my brush over it so that there is no sharp edge there. The Bros. like this, so that there's no sharp edge here and the base of the bush, What is it suggests some grass on the ground. So now I need a darker version of this BY adding more red and more yellow. And I want to add a bit of blue. Or even I can add this color which has all these three colors. Though I won't make it look green because that will be then a wrong choice of color. Slightly more red. Let's see how this looks. Yeah, looks okay to me. And what I'll do is I'll even use the brush like this here so that even in the shadow, it looks as if there is grass and on which the shadow is falling. So this shadow doesn't have any sharp edge. Otherwise. If you paint the shadow very sharp, it suggests that the surface on which the shadow is falling is very smooth, which is not the case here, because it's a night scene and the ground is not very flat. Shadow, the stream will be here. And it will cut across already. Maybe, maybe do four pivot here. And I need more of that color. Always make sure that you mix enough color, otherwise, you have to do this exercise again and again. Mistake, which I did, do that and make the shadow dark near the tree. I'm using a fairly large for this work. And I like doing that because it keeps the painting loose. And. It also depends on what kind of surface you are using. If you're using a very smooth Canvas, then you will get smooth edged shapes better or easier. And if you are using a canvas like this which has a fair amount of tooth, then you don't get those very clean edges. So now I want to suggest some shadow on this side. For the ground to look more three-dimensional. I won't overdo it. Add few scopes here and there to make the grass slightly dark on this side. And I want to use the same color. You can see that the ground has been lifted now. The dimensionality comes immediately. Now I want to blur this edge. I think I'd use a different brush ways. I might end up missing the whole thing. And use the mountain color and apply it so that the edge is not very sharp. And I'll add maybe one or two shrubs here, which will make sure that the edge doesn't look very or it doesn't attract a lot of attention. Right? This might use this color hue light room to make this EDR DL. So that doesn't attract a lot of attention. And it's all part of composition again. So composition doesn't mean you have, you can do it only when you are at the drawing stage. What do you can make the composition or adjust the composition even while you're painting because of using different intensity of colors. Now, the only thing remaining to be blocked in the sky. And I want this guy to be very, very, very, very light. So I'll be using starting with blue and starting with white sari and adding a bit of blue to it, which is already very, very faint blue. So let's see how this looks. Sales quote, might add more white to it because it's looking UDL. Let me block in with this. If I need to add any blue areas, maybe I can do it later and eat the color to be slightly more fluid. And I don't want these edges to be very sharp. So I'm making sure that I overlap my brushstrokes over the mountain to some extent so that it blurs the edge. Maybe in this corner I will add some more blue. And I want this sky to be simple. I don't want it to attract a lot of attention from the viewer. Needs some sky holes here and there. Maybe here. And you will get covered with the foliage later on, but it's good to keep them. It's easy to overlap than to create new ones. Okay, that completes the now the remaining part in the block in stage is just shadows of these trees. Again, I'll be using this small bras and I'll be using this color litres. And this will also define the water properly. I need to keep some whole sky hole, even in the shadow or even in the reflection. And I won't paint the reflection in more detail. I want it to be only a suggestion of the reflection. These drinks will suggest that there is some movement in the water, but not much. I did not intend to do this. So what I do is cover it up with blue color. I don't want that reflects and go or the foliage could reflect to look on the edge. Now, the reflection of this small flow, it's closer to the water body. And this is the idea which I had kept actually for the deflection when the reflection I could fit it in smaller areas and aid to cover that with the sky color. That's enough. Actually this is looking a bit too much for affliction or ripple basically. So this darken it in some places. And that completes the block in stage of this painting. So now I'll take a five-minute break. Look at this painting in slightly more detail and from a distance so that it gives me another perspective or a fresh look at the painting. And then I'll come back and we'll paint the details in it. 4. Demo 1: Midday Reflections - Part 3 - Details: Welcome to the third stage of this painting, which is the details. And now I'll be adding details one-by-one to all the shapes wherever they are required. So the things which I note or want to do right now, let me explain those. I need to add some details to the mountain so I'll be changing the color but not value too much. And I'll be showing some lighter areas where the light is hitting from this side. Then I'll be adding lighter areas of green color on these trees and bushes. And then I need to slightly dark on the water here. And that seems to be it till now. But I might go and add, and add some more details as we progress alone. So let's get started. Again. I'll be now using a smaller brush because I want to do now details. So for this mountain, I need a lighter color so I can use this color or color basically. And I just I just want it to be slightly more reddish. And I wanted to see how it looks when I apply. I wanted it to be lighter than what it is. This loose. Yeah. This looks better. Before that, I need to get rid of this color here. So I'll just apply this moment and color again and use color skill that creates the impact which is required. So light is hitting some on the mountain. You can see that there is very less value dependence. And now this ADR looks very flat, so I might add only a suggestion of some shape. I don't want a lot of attention. And maybe something like this. So that pushes the mountain faraway and also suggest some light and shade on top of it. No, I need slightly dark on this line here. That's better. And I use the same dark-colored heroes go. I don't want to add details. But this is where the light does not hit the ground directly. So it's creating that shadow, which basically defines the edge of though landmass. No, I'll add some details to Greece. So starting I need a green light Clean. Let's see how this looks. Might need to add this to it. Seems okay, I'll go ahead with this. And whatever I add now is going to be final. So I'm taking my time to see that I don't add unwanted things, or at least try to make sure that I apply brushstrokes, which I don't need to adjust or modify. You have to do that. But then making sure that I think more than once before I applied a brushstroke and use this dark color to somebody didn't hear. Some leaves poking out. And the base of the light also might have some highlight. Only suggesting. They might show some places like this. I don't want to do that. Again. Coming back to the green color. Some yellow and some places. This tree has a slightly different kind of use the same green here. Whatever that is. That I don't make the bush symmetric. And it's a human tendency to make things symmetric. So I will do carefully watch that the shape I have made is not symmetric. I'll change the outline a bit on this side, so that should be enough. Let me drive the brush in. The bread doesn't have any color. And meat wagon dressed like this. To suggest some grass. Even here. And the shadows, the reflections, sorry. We'll also have some of that green. Not much within it should not look completely different color then the object itself. This is the stage of the painting where you have to look at every detail very carefully now and not look for speed. I might have a bush here. I don't need to add any bushes here because it's too far for us to see any shape of the bush within limits. Me. Something so that, you know, to add a bush here, I need to make the color, but it has to be light blue here. In Haskell. I also made one to make sure that I don't divide with this tree or bush, I don't divide this distance in equal halves. So otherwise that will spoil the compilation. And something like this. And add similar bush here also. And I think, okay, I need to make this. Our dentin doesn't go out from here. So let's see how this looks. Color is not so important. I think I didn't stop. What do you mean? Before I do this? I love this painting. And that's it. You can see how I took a photograph, which is not very interesting to look at. And then changed a few things to make it attractive composition wise. And then painted it using simple three-step method of composition block in and detail. And now I want you to give it a go and paint the same painting. And you can choose to have a composition which looks different than what I have. That's also fine. But you can also try this composition to give you a feel of what it means or what this painting, how painting this painting or this composition will feel like. And then you can also use the same photograph, created different composition, and paint it once again. So that is where you are. Progress will happen. And I'm adding, I want to add some dark value here. It's not becoming as dark as I want it to be. Another experiment you can do is instead of the colors which I have used, you can use a different set of colors, different blue, different read, different Yellow, and paint the same painting and see what kind of results you get. And you will, you will learn a lot when you vary things and later analyze what looks good, what challenges you faced. And so on. So I'll stop here. And I hope you like this painting and this demonstration. And then you will attempt to do yourself. See you in the next. Before I call it finished. Let me add these suggestions of light, even in the shared or even in the reflection, because otherwise it looks artificial. I think that's it. Thanks. And see you in the next video. 5. Demo 2: Sunset Clouds - Part 1 - Composition: Welcome to this painting project. I'm going to compose a painting based on the photograph which you see on the left-hand side here. And I'm going to not modify it a lot. But this is the aspect ratio approximately of my painting, which means height to width proportion. It's the same as what I have on my board right now. And I won't be modifying this a lot, but I won't do give more importance to the sky. That's the reason I'll be moving the mountains. In this area. This is the mountain on the left. Then these are small mountains on the right. And then there are some, this is the, in the valley there are these small trees and houses and buildings or whatever. I may not paint all of those. Then there is this hidden on which we are standing as the viewer. It has some bushes. And the reason why this piece of this shape is important is because it immediately pushes this region away from us. So that's the reason we need to include that. I'll be including that in the painting. And this is the this will be the focal area, this portion. And so the clouds, I'll be painting like this. Just almost similar to what is there in the what do you see in the photograph? Something like this. So this will be dark. And this will be dark. These are the boil it. For Pole clouds which you see. Of course there will be change in color here. And then these are the distant mountains. I don't want to show many details in these mountains. And then this value will give the make the painting complete. And I'll be showing some trees and things like that. But overall, it's going to be a simple composition. I'm keeping in mind that I don't want to cut the vertical in half with any of these objects. So you can see the top of this mountain is below the half way mark, which is somewhere here. And I'll also keep that in mind when I actually draw this on the, on the canvas and so on. So not many changes in this, in this painting or in this composition which I'm doing using the photograph. So in as far as M3 method which we use in doing these paintings is concerned, this is the step one, which is the composition. And in the next step, this is the step one. And in the next step I'll be doing the blocking. I'll first draw this on my canvas which is here. And then I'll be drawing this and then blocking in the main colors. And in this third step I'll be adding just the required amount of details into it. So see you in the next video. 6. Demo 2: Sunset Clouds - Part 2.1 - Block in: Welcome to this stage of painting. In the last stage, we looked at the composition, which is this. And now we will be going to the canvas, where in you see the reference photograph here, and my palette here, I'll be changing the colors. These are the mine colors from the previous painting. And here you see the cotton Canvas taped to the bold. And since this painting needs a different set of colors, I will be using ultramarine blue. And I will continue to use this red, which is Alizarin crimson. And instead of this yellow ochre, going to use another color. And I think I will go ahead and use accurate. I wanted to use a warmer yellow, but I don't have that around here. So what I'll do is I'll use lemon yellow itself and I'll modify it as required. And of course we have the titanium white here. And though this colors like the messed up because of my usage in the previous painting. So I am just taking off a few things are some color line here and there. But basically that's the basic setup. I have, as usual, have some linseed oil here. And B, using this glass palette, I find it easy to clean and easy to mix colors. Again, as in the empty method, I'll be using just two or three brushes. Most probably I'll be using only these two brushes and do the complete painting. So in the first stage, or to start with, I'll be mixing a light blue color just to do the drawing based on the composition which I had done. So here is the composition. I'll be looking at this and then I'll be painting it on my canvas. Or to this the halfway mark, almost. So my mountain has to start somewhere here. And It needs to be only so tall. And then I'll have one mountain range which is in the background. It's much lighter than this one, would be something like this. And then another mountain range like this. So I'll see if I need to modify this ranges. I don't want these two ranges to compete with each other. So we wanted to do is this. And let me take a closer look at the painting or the photograph and then let's see. I'll just bring it down slightly. And this is the hill on which we are standing. So it'll have some bushes. And this will be dark. And then I need to mark the Clouds. This is the area which will be very, very bright red. But roughly there'll be clouds like this. And something like this. This mountain is a bit too. Anyway, I need to rub this off the drawing. Take off all the extra oil which is there because I don't use turpentine. This mountain needs to be slightly less tall or short, whatever we can call it. And then there'll be some details here and there. These trees and patch of green field and so on and so forth. So this is the basic drawings. And now I will go ahead and block in the main colors. To do that, I'll have a closer look at the photo. Gotta. Okay, this darkest dark will be somewhere here. And these trees style and start with that. And this will have a lot of browns in it. And this will be dark green. And then gradually I'll go lighter and lighter. So. Let me mix the first color because color needs to be a dark brown. So mics are dark brown, L mix determining and venetian red. You can see that the initial Red Alizarin crimson is so strong and color. And then I'll use a bit of green or yellow. I need to make it more brown, so it'll be predominantly red and yellow. And it's a sunset scene. So the color is, I don't want them to be very, very saturated. White into it. And some Lu Bu make them slightly dark. So it's not completely Brown yet. But I'm okay with that. And let's see how this looks. When I apply it here, I want to apply it thinly. So what I do is I will remove a lot of color on the brush and just brush it in. If I had been using turpentine, I would have done this with a thinner color, but I don't want to do that. And there'll be some lighter color branches here or doings, which I can do later on. Right now and just concentrating on blocking in some dark patches here. Maybe a data green here. Basically a mixture of all darks. Because this part of the hill is not getting any direct light. The Sun is almost as has set behind these mountains. So I'll leave it, leave this part at this stage and clean my brush. Now the next darkest color is going to be these trees. So I need a greener color basically. So I'll mix more of blue into this and some yellow to make it green. I need this color to be thick. And I had a bit of this, actually I wanted to add read, but since this mixture already has the red, I can make use of that. And let me see value wise. These trees will have a lighter value than this. So I wanted to see, you can see that it's almost of the same value even here. So I need to add a tinge of white. Though it looks not quite, not quite correct color. Let me apply it here and see because the color is relative. So now you can see that it's, it looks correct here, but I can even go light or with this slightly more bluish. Yeah, this gives good. Just applying this in places where this needs to go. And here I need not, or I should not make very detailed strokes because these trees here are far away from us. And so it will be very, very difficult to see the details. So I am just making small dabs of color, right? This. And in some places I need to make it dark. So I'm adding that this color is somewhere in between. And somewhere I will make it slightly more reddish. So you can see that it's not that you always make one color and then applied in the whole area. Go on making these small adjustments. And that's when your object looks much more realistic. And as I come towards this side, I can increase the green in it, basically yellow in it, because this is much closer to us and the effect of the light will be much more clearer here. So it not be as blue as this area. So these bunches of trees need some more color, slight amount. And at some places I need to show the ground are basically not grown up. So there I need to vary the brushstrokes and paint it something like this. Some places, some place it'll be a different green. So to say. This can be even Lidar. And then the trees around it will be dark. So more blue and morph yellow to make it slightly. Again, use this u1 on this side of the farm or whatever that is. This brush to create some texture. I don't want to include a lot of buildings or houses to keep it more of a rural seem. So I'll be avoiding that. I'll be just throwing in some more lighter green patches. To suggest some more bombs. As I move away from the viewer, I'll make sure that the details are less. Even though I'm adding just the blocking. I'm making sure that I add the colors consciously and not just paint a plaque color there. And towards this corner I will be using brushstrokes which are flat, which will mean that it's much more flatter area. With this, I might throw in that color somewhere. You're in some places. And I will not get into the details much, any more details of this at this stage, but I need to do or to suggest some more details, which I'll do in the next step of the painting. So for now I'll stop painting this idea. And now I'll get on with the mountain. So this mountain is darker in all the mountains which we have. Just cleaning my brush and start with fresh ultramarine blue. And I need to make it slightly dull. It's not very vibrant, red, white, and blue. So I'll just add some of both these colors. Red also and yellow also. So which is like adding orange to make the color of slightly grayish. And again, add mode of blue grid as and when required. So this is what we have. Let me test this. I think I needed slightly more dark. Yeah, this seems to be okay. But colors are very related to each other. So let me see how this looks. I think it looks a bit more than I need. So some white and this should be okay. And this is like adding flat color. What I'll be doing is I'll need to do something to merge these two videos because I, that is at such a distance that you will not see any clear edge between these mountain, this mountain and these trees. So for now I'm just merging and merging the edge, making the a and G as quaint as possible or as. And I want to keep it and take off all your brush. And let's see how this looks. Good. There are many mountains. I mean, may add in the code one, but not much. More than that. The size of the bending. Again here, I wanted to make the edge bloated lighter than this. So add in more white and very hard to see the vendor dependence. Some more to widen goes in. Shouldn't be, shouldn't be. Happy with. That has come out. Now I need to pull in the sky. And for the adolescent is get my brush is thoroughly clean because I don't want any of these colors to get into that. 7. Demo 2: Sunset Clouds - Part 2.2 - Block in: Welcome to this portion of the block in wedding, I'll be mixing the cloud colors and this guy colors. And I'll be pre mixing these colors before I apply or start applying them on the canvas. So I'm cleaning the pilot to some extend to make space for me to bring mix these colors. I'm starting with ultramarine blue. And I'll add some Alizarin crimson to it. And I'll also need to add white to it to make it light. Or some titanium white. Right now. It looks too bright for me. And so I am adding some more, some more white color. And I need to try this on the canvas before I make any adjustment. So let me try this on the canvas. But I need to, I can, I think I need to add some yellow to bring down the chromosome or the saturation so that it doesn't look so bright. Because if I look at the painting and this color mixed color, then I can see that it's too bright for that painting, too saturated for that painting. So some yellow will bring down the chroma. And let me try this. It's, I think I need some more adjustments, some more white needs to go in. I'm reusing this light blue and some white. I'm using the palette knife so that it becomes easy to mix a pile of color, some more yellow to bring down the chroma, even more gray down basically. And let's test some of this on the canvas again. Yes, this looks better than earlier. And I think I'm good to go ahead with this. Now, let me mix another color. But I this yellow is too muddied because of my earlier mixing it in the ground colors. So I need a fresh pile of yellow color, lemon yellow. Basically, I need to mix an orange color. And have some variations or gradations of that. So I'm mixing yellow and Alizarin crimson. This is too saturated onto two bright and into adds some more. We get some more lighter with yellow and maybe I can add some white also in it. Anyway, the color is lighter as we go towards the top of the sky. I need some white in it. And I will maintain these two pions separate and use them as required. Or pick up color from there as required. Now. And start applying these colors and start with the loud color first. So a big brush. And we'll start applying this color. Some linseed oil to make the color flow a bit. I need to make it slightly dark. Med, adding in some blue and applying the color on the area where I've marked it as the cloud area. If I had to mix this color while I was applying it, it would have been difficult. So sometimes it's good to premix the colors and the values of the value of this color as or with respect to the mountains should be correct so that it looks proper. And the loud should be lighter in value then the mountain. So that's something where this color is appropriate or the value is correct as far as I see it right now. But I might have a problem with this second Mountain because the sky is looking lighter than that. And this might mean, and just meant later on. So I'm starting with, I'm now painting the clouds on the right hand side. And there are two ways of painting. This guy. One is to paint the cloud first and then the bright area later on. And now I'm painting a slightly more pinkish color. Towards the bottom right corner of the sky. You can see it in the photograph. And though it's not perfect, I'm trying to edges or bring in some variation in the color. I'm not trying to exactly match the colors from the sky, but trying to go close to it. So I was saying there is, there are two ways. One is paint the cloud's first and then the bright part of the sky. And the other way would have been to paint the bright portion first and then paint clouds over that. So independence, which we, you want to go or which order you want to follow. There is some overlap, which would be required in both these cases. Because wherever these colors overlap, they might get mixed and might create a greenish tinge which is not desirable in the sky. But since I'm painting this, i, the cloud's first. I might have to paint them again after I paint the sorry, the bride portion on the sky. I'm trying to adjust the value of these clouds here on this portion. It should be lighter than the mountains if you see in the photograph. But somehow I'm not able to do that and I will not adjust it right now. But in the next step, in the details phase l, e, how to adjust that I might have to darken the mountain a bit. It's all game of maintaining the value relationships properly. So and knowing when you're wrong and then adjusting it, it's not that you paint the correct values every time. Or when you are painting it for the first time, the first pass. And that's where oil colors help because you can paint on top of the earlier layer. I'm trying to add just a bit before I go on to paint the brighter portion and this portion of the sky, I'm carefully observing the photo and trying to win these clouds in. No, I think I'll go ahead and use the underbrush so that I don't mix these colors together on the brush itself. So I am taking a smaller brush and printing these bright areas of the sky will see that to some extent the color is mixing with the blue violet and turning green, which needs to be avoided. And that's why I'm trying to use the brush as lightly as possible so that I kind of paste the color on top of it. And now it will be in the white areas first. And then go and paint the EDR where the bright part touches the cloud. Because that's where the mixing will happen. And as the color or as we go up the painting, the sky color become lighter and lighter. So I need some white to mix into the orange color. You can see the photograph is becoming much more brighter towards the top, less red. So some more white. And I do use that for the rest of the wide area as area. And you can see that I'm mixing some color almost every time I pick up the color from the palette. And that's because it creates a bit of variation. Every time I pick up paint. And if I don't do the brightest spot, this brush, I'm not getting very satisfactory. Now. Right now I'll just use this brush to paint the white areas which are remaining to be painted. And then I'll come back to the brightest spot and wiping the brush in-between. Because every time it goes over the blue area or the cloud area, it mixes that color R3 onto the brush and it's picking up that color and turning green. So I'm every time I lift the brush, I'm wiping it with a paper towel. I'm just listing the canvas surface. So some more ideas to be printed. This need, this area needs to be light, light. And I'll add just these clouds. Once again, after the bright ideas are painted, I'll need to overlap them on top of the existing alerts. And so right now I'm just concentrating on filling up the areas rather than adjusting the shape of the clouds. I'm not happy with that central part. I need to get rid of that blue because it makes the yellow dull. And even see the shape of the clouds needs to diverge as it goes up. Because of the perspective. And the shape of the cloud. Look diverging towards the top of the sky and converging towards the area where the Sun is. Right in this area a bit mode. Let me pick up some of that color or their flesh color. I need to dark on the surrounding cloud so that the yellow, orangey looks bright. But I need to adjust the mountain color also. Give that for the third step. Let me see if I can adjust some of that. Mountain. I need more color. They also mixing, return marine. And once you work on a painting for some time, you kind of get used to it and don't recognize that what it means in become, you become two, becomes difficult to notice what did means. So though I'll paint this different colour on top of a slightly darker color on the mountain. I might need to take a break and look at the painting with a fresh eye would lead me and just it to whatever extent ICANN right now seems to me, or at least better than the lighter color. And use this color for the background. And I'm going to pick up that dust. And I think this completes the blocking. At least there is some color on every shape of the painting. And now I will take a break. Come back to this with fresh eyes and then start working on this again in the third step of this painting process. And so see you in the next part of this painting project. 8. Demo 2: Sunset Clouds - Part 3 - Details: So back. Now let's go into the third stage of painting this. And among door refine whatever I've done till now. And I can see some areas which need of VS correction is that the mountains need to be darker. This side of the clouds needs to be darker or all the clouds can we still darker? And basically it has become Overall, I need to add some other values. So I'm going to go do that by starting from the mountains and they named the clouds. So for Amanda may need go make this mountain darker. Therefore, that make me clean my brush first. Make it dark and we're adding both both these colors. Looks good. And I also want to extend the hole. Needs to be in the sense that. And now you can see that the difference between these two is not much. Now I need to see if he has any Bu, slightly darkened mountain in the metronome. So this is the polar which I'm trying to, Lindsay shouldn't be OK. Again, always going again. Slightly darker. The value sculpture needed some change. Once you get into bending. Unless you take a break and the whole painting with fresh eyes. And like that should be okay. I can suggest some undulations here with this darker, some darker brushstrokes. And let's see now. Now I need to work on the clouds. And again, the clouds need to move slightly darker. Adding some blue Buddha cloud color, which I heard mixed. And some Clemson blew. Some motor Clemson. Let's see how this looks. And I shouldn't be OK. And not apply this all over. Murder at least in some places when a, when a one credit for being dark. And as I had mentioned in the previous Stage. These clouds are on top of this yellow, orange sky. So they have do a painting later on or above the yellow color. Even here. And mix some more color here, no. Some more blue in. And this radiation is the thing which makes the printing look nice. In nature. That is no one colour which is applied or which is seen in a large area. That is always a variation. For these things could look bride, I need to darken the surrounding media, which is what I'm doing now. And this looks much better. We'll get some more radiation. As these clouds get some light. What happens? Blindness. Some mediations with this looks worse because the colors don't mix with already. And it's a nice way to apply the highlights. No. Some more like here. And maybe a tinge of that in some other places. Again, some more. Now I need to work on this bar. Not so concerned with making it look exactly. But then I need then that effect first. Now we need to go much more darker. So let me wash the brush. Is the enemy of dark. So I needed some mode. So I need a dark green here. So some yellow to make it green. But I don't want to be labeling somebody good. Now I want these to be final stage. So I'm making them carefully. What then? This seems to be working. The first layer of the color acted as a background for this whole thing. That's what these initial layers are meant for. And then in the second layer we can go in and add more details. Matches what M3 method suggests that you work in stages so that you learn, get overwhelmed by what is to be done and there is some order to the way you work. I don't want to show any major details here. Because this is anyway. What I want to suggest, the verticality of decrease with these marks. You can see that it has on the whole thing. All the brush marks are suggesting now various reads and some ADR which is being seen through limb weaken dia or Flatland. And I wanted to use this same color somewhere here also just to bring in that some radiation in the mountain. Otherwise, the mom coming and looking very flat. Something like this. And I also don't want this line to be very clear between the top of the trees and the mountain because they are so far out, you won't see them clearly. Now it looks good. Now I'm going to work on this part. So I'll modify this color to be more reddish. Make more red in good, and some yellow. I don't want it. This looks good. And I want also want to make some light marks. And probably I do it to read a bent shape buddy pick and find one close by. Adding a phone one. So this is a paint shaper. So nothing very high-tech. It's just cool with some rubber tip. And again suggest some Greeks when this, which would be hard to do without or with a brush. And I don't want to overdo this also, because it might catch more attention than mode means. What I'll do is I'll mix a lighter color with the same colour which I have. And let's see if I can make those. Briggs whip. Palette knife. So let me remove this. And let's see how this goes. I can do a few with this, but not many. Backing up too much. And making ready in really sharp models. Don't look good. Again are dark corner. Some places, some radiation, many details. It's needed to push the whole thing or push this ADR back a lot. Otherwise, you won't get that. Deft in the bending if we don't paint this 99, keep it. And this level. And he'd go make this monitoring clean bit here. And let me look at the whole painting. I think. I mean, even here. Major. So no matter how many detailed say add, it's never going to look like the original sky, but I'm going to attempt to go as close as possible without copying it. So I think I have achieved a good amount of resemblance or at least Prego cats that feeling in the painting. But obviously there is always room for improvement. And just think the mountain in the back so that it doesn't look blue light. And I think I need some darks here, whichever the darkest darks. And four, then I'll make sure that I don't mix the color in any area which has any white dinner. So some read some blue and some yellow. And we'll use this in some places. And I think I still applied when you can go a lot more data than this if you use burnt sienna, ultramarine blue, which I'm using. But since I'm concentrating on painting this with just three colors, it's good to push yourself to achieve the darkest dark with whatever colors you are. You are planned to use. It's not that you can't use. But it's always good if you're beginning to paint on this. If you are at starting level, then you should always try to paint with minimum number of colors for max. And then go on adding more colors to your ballot will keep things manageable and easy to work with. I think I have. I am happy with more. I have painted. There is always room for improvement and non-goal into and just doing things over and over again. But to be frank, I did not expect this kind of result when I had just completed the second stage, which is the block end stage. So it's always necessary to push on and complete the painting no matter how bad it looks in the second stage or even first-stage. Only when you complete the painting, you can then start judging whether what you've done is gold or needs improvement. And each painting, the tissue something so no painting goes waste. That way. I will remove the tape now for that and move my glows. And let see how it looks after removing the tape. When it gets the gets some kind of frame. Applying the smart Ames just so that the bending remains in its place. When I remove the original table. So this is how the painting has gone now. And every painting, as I said, is, is an experiment that is no guarantee that it will come out the way you want equal gamma. Then we keep trying and keep trying. And with every painting you'll keep getting better. So I hope you have enjoyed this demo. Yourself. Being a version of this painting yourself. Thank you and see you in the next video. 9. Demo 3: Farm At Tamhini - Part 1 - Composition: Welcome to this painting project. In this project I'll be using this photograph which you see here on your screen. Here. And I'll be a photograph which I took near mushy yesterday, basic t. And when we had gone there for, we can tip. And then I've composed this slide slightly to zoom in on a smaller portion of that photo. And this is what is I'll be using for my painting. And even Lynn, even though I cropped this, I want to make some small changes to the composition so that the composition looks appealing and it's easier to paint and it becomes more attractive to look at. So this is what I had tried. I've kept, I'll just draw this again so that you know what I've done here. I'll draw it slightly larger so that, you know, this is roughly the aspect ratio of my canvas that I'll be using. And I've taken the base of the mountain somewhere here. And you can see there is a small Reed, I won't say a Walmart kind of retaining wall which goes like this. I'll make it slightly tilted so that it's not perfectly horizontal. And then there is this tree, large tree here. And it has shadow falling somewhere like this. I am not. Let me think about this shadow because there's not much space to show the shadow because of the angle we have chosen. And the mountain. I've kept it like this. It will go down here. I don't want a lot of sky ADR to be seen here. And make the mountain go up like this. And there are these small ridges or wrinkles. I don't know if they're called wrinkles on the mountains, but then that's what they are. Small valleys, ups and downs, and something like this. And there is a small hill here in the actual photograph. This hill is quite high, but I'll make it even smaller to make this mountain look larger. So I'll make this smaller in size and I need some balancing. This will be y dark because this is one of the darkest part of the painting. Something like this. And I'll need some Balancing shapes here on this side because otherwise the await. Will be too much here and crop it still hear a bit more. And then they'll be, I'll show some shrubs here, something like this. And I want to show a smaller tree. You're And in the photograph it's quite near this tree emanates not as far as I've shown it here, but I'll show it slightly far away so that it becomes smaller in size. Because otherwise it would mean, or I want to show the smaller tree. Again, I won't show the full small tree. Showed this completely. I it might get cut off by the border here. And that's fine. And so the darkest dark shape will be here. And this is the focal area basically. And then I may not paint the base of this small hill, also perfectly horizontal and painted slightly tilted towards this so that I can bring this tree slightly closer to us. So that's the basic plan and there'll be these patches of green on the mountain and curator shader. And here they'll be this ploughed a field. And I might actually reduce it so that I don't give a lot of importance to this. So basically this will be my bottom edge. You can see this is compress the space. If you see the whole photograph here, there is lot of foreground which I want to avoid. And then I have cropped up only this much and arrange the shapes according to how I want. And the light is coming in from here. So in this part of the tree or the side of the tree will be light. Even on the mountain, there'll be some lighter ADLs here and then some darker areas here. And the idea of the mountain here also. So that's the plan. Now let's go to o. So this is the composition which is the step one of the painting process which we follow here, which is the M3 method of painting. And now let's go to the second stage where I'll draw this on the actual canvas. And then Linda, blocking colors. So see you in the next video. 10. Demo 3: Farm At Tamhini - Step 2 - Block in: Welcome to this part of the painting demo in which I'll first explain what materials I'm using, what colors I'm using. And then we will draw this composition onto this with a paint brush. And then I'll block in the main colors. I'm using ultramarine blue, Alizarin, crimson, yellow ochre, and titanium white. This is steadily and glue, but most probably I will not be using that. It's there from my previous painting session. And I'll be using mainly to these brushes, these two brushes. And I'm using a glass palette, which has some great paper below it so that I can see the colors properly. And now I'll be using this is cotton canvas, which I've taped it to the Board. And I'm also kind of made one layer of color with whatever was left over from my previous painting session so that I get some ground and it's not completely white. It's always good to have some kind of ground on your painting so that you don't have to fight with the white canvas to start with. And I'll be using linseed oil for thinning the paint. I don't use any turpentine. So now let me get some of this ultramarine blue and draw this composition on this canvas. This is where that base of the mountain is likely to be. And here will be the retaining wall or something like that, whatever that is. And then this is what the GUI will be. R three will look like this, something like this. And then, and first draw the mountain. And there'll be these ridges. And as I said, I've made this hill slightly, I won't be painting it horizontal and painted something like this. Slightly slanted so that that's not a, invites the viewer into the painting and it's not perfectly horizontal. But I may not have it so large here. So something like this. I don't want it to be large attraction in the, in the painting, but it should not be sitting perfectly horizontal on. So that's my point. And maybe I'll show some bushes here or trees near the base of this hill. And that is this bush or tree. And this tree will have a shadow on the side. When you paint, you should not go too close to the this is also very close to the border because when you frame the painting, the frame also takes some space from top. And then you are a tree looks very close to your border, so I won't go so much up. The canvas ended the tree here. And also I wouldn't be in this tree as mono lithic as I've drawn it here. I will make sure that it has some variations. It has some sky holes in it and so on. And then I might suggest, just like there is, I might suggest shadow, but there is not much space here to suggest the shadow. Because I've, the way I have modified the composition. There's not much space here. And I don't want this dark area here to block the viewer from entering into the painting. So we have maybe this line slightly up. The drawing is done. And now I can go in and start laying in the darks and medium, all other major colors. The way I would like to proceed sure is I need to get the values correct and the colors will be less important. So I want to post mics are dark color with these two, red and blue. And then I want to make it green, so I'll add some yellow ochre. And let's see how this looks. Over ALL. Apply anyway, apply this on most of the tree area. Because this is anyway going to be the darkest dark that this painting has. And I'm slightly tilted the tree so that it doesn't look very upright. Very much upright, just to add some interest. Now, I need to make all other darks lighter than this. So what I'll do is the next dark as data will be here and here. So I'll make this slightly more yellow and a bit of white and blue also, because this tree is closer to us and these are slightly far away, not much, but then that distance and will make a difference. This tree. Or even a lighter color, but slightly more greenish. I want to have that variation in colors. I don't want one color applied all over this zone most agreed. And make it slightly blue. Then the next arc will be the. So I'll make it green. And I make it lighter. And think I need to mix green separately because this has lot of ready neighbor. So it's getting dark. This green plus some white. Let's see how this looks. I want the values to be different. To me. The value is looking too close to each other, so I'm slightly darken this, lighten this, sorry. Yellow will also make it slightly light. Now you can see that is that difference which I wanted to end the hill here. And some radiation though, and this is not part of this page to me greatly and some variation in the color itself. Now let me block in the mountain first or yeah, mountain I'll do first because that's the next dark. And for the mountain, I'll first apply that dark or the blue, blue-green color which is there. And I can probably reuse this color. And maybe I'll use a larger brush so that it's easy. I also will need a lot of cholera. But I wanted to be like and I mix this green into it because it's anyway, I wanted to be a grey because this Green had yellow in it. And reading it also which was there, it has brought down the chroma of this color, which is what is required. And I think I need it even lighter. Lighter, but slightly more red, I guess. And we wouldn't know whether this colored is right or wrong. Unless n value, unless we applied with on the paper or on the canvas NC. I think it looks good. And I'm at least apply in major areas where there is shadow. I wanted to be shadow of this. I'll make it slightly lighter than it is in one place. I think that you need more of this color, so let me mix some more. And some yellow. Basically all of All of these colors mix to only the blue is the dominant colour. Otherwise, we have all these colors in it. So that's the beauty of limited color. Limited palette painting is that there is not much which you can, which you have to think about. Only thing is you have to just add just the proportions of each of these colors to arrive at a different color. Slightly more weight. Yeah, this looks good. You can see that there is not much of a value difference between this and this, not much. And led me see the photograph closely. And you can also see that even in the reference photograph, there is not much of a difference between this and this. I'll go ahead with this and if I need, I can come back and darken some areas. But for now I'll use this because there is this ground which is close to water color I need Finally, I again keep some lightly colored. And in the use of the canvas. These guys are very important. These stop three from looking like mono lid. And here the i might go in a slightly darker color because there'll be less light reaching this ADM. But for now I will whatever I have on the brush. Because there is this ground color, I don't mind having these small ADRs peeking through where the underlying layer is. Seen. You fit was white canvas. I would have had to cover those all white area showing through. But now, right now there is no need. That's the benefit of having and keep this brush like this might be needed later on. Let me now come back to, I can use this same brush and have the sky color because it's a lighter version. I don't want the sky to be sky to have a lot of details. So I can, I think I can go ahead and mix a color which is based on this color itself, but a lot lighter than this. I don't want because I wouldn't need a lot of color for the sky. And taking a bunch of this color, a small portion of that colored and adding white to him. And the white is very, very thick. So I need to add some linseed oil in it. And because I'll be applying it with this brush and the paint on this pressure will get mixed up with that. Would be slightly darker than what I'm mixed. And let me see how this looks. Whether I need to adjust. I think I'm okay. Some slight amount of blue in it onto some way. Let me apply this anyway. So I now want to move this, this dopamine. In oil painting or in any opaque medium painting, you should apply your light colors in a thick manner with thicker consistency. And your dark-colored should be used in thinner consistency. That's the reason I am mixing more of this guy color. And let's see if this is correct. Yes. And then applying this color in a thick fashion. And I might add small cloud here. And just for the variation, I will make it very, very prominent. But then I'll have some relation to the, to this guy. Because I don't want any details in input then something like this. And because the light is coming in from the clouds will have much more wide area on this side than this one. And because I'm added a lighter color, I need to add some more blue color on the other side, just to do suggest that direction of light more prominently. And the top of the painting shouldn't be our top of the sky should be slightly darker blue. And as a go towards the horizon, it should be lighter in color. I might add more white, good. If required. This mountain. So sharp. So that becomes slightly blurred because that will add to the distance. If I keep it sharp. It will not come closer to us and it won't have that effect. Okay, now the thing remaining is this. You can see that the value, value wise, this looks correct. Even now. This is a good value to have. So I mix a color which is close to value what I already have on the canvas. And that will complete the major part of, and then some lighter greens on this side and make sure that we have the second stage complete. So I need basically red brown color. So let's start with the yellow ochre. And some red and white didn't take White from this side. And let c value Y is whether this is right. Yes, very close, very close. So I use this color, I'll just need some oil in it. Will make it easily, easy to apply. Even to wash my brush, I use safflower. That's what it is here. That prevents any headache that gives me. So let's apply this. I might need to slightly dull it. And for that I need to add, because I've used these two colors and we are using only three main colors. The only color which can dL, this is the blue. So I'll use this gray or whatever this thing I had made for. Now you can see the chroma has gone down. And I can use this. Might add a bit of red to it. That's a bit too much. Weight. Should be okay. At least for the lock-in. This seems okay. And that is this line of ground which we see here. They don't show you. Then I'm coding this shadow pattern. And I want this edge to be soft. And dragging the brush over this. Then it will look as if the ground is going towards the base of the mountain and it's not a there's no valley in between which is which is not the case in my reference photograph nor have I blended like that. So I'm just blocking in this color also simply to have that base color again for the ground. And what I'll do now is make this slightly more dark with red and blue. And try to suggest some. We want to have it dark on at least towards the corners. If not, they need modal this column. Actually i'm going slightly in blue the stage. But anyway, so I'm mixing our data darker version of this, which should suggest the shadow. And I'll also use this on this region. I can make it slightly darker for the radio also because it's not, it's almost vertical. It's not as horizontal is this. But then I also want to make sure that nothing ends exactly in the center, which is what this hill is doing. So I might have to cut it or reduce its size or Emily's its size so that it extends up till here. Because that will be compositional. Mistake. Letting some grass, which we see in the photograph in the yellow grass, I might dilate I'm in this since I mix this color, let me see if I again had that shadow of the tree and new looks. Okay. Because the shadow is going into the distance, it need not have. A lot of this is kind of blocking the view I in my that's my interpretation. So what I'll do is I'll have the shadow not extend uptake here. And I'll bring it slightly on this side. And use this color overlap. We show that the shadow is coming this way and not going that way. Now should be OK. And now the green is remaining. What's, what I'll do is for now, let me think. Let me come back to this painting in the third stage and then work on the details. But as far as the second stage of the painting is concerned, the blocking is complete. I'll take a break and then come back with a fresh eye and then work on the Beatles. So see you in the next video. 11. Demo 3: Farm At Tamhini - Part 3 - Details: Welcome back to the current stage of painting, this landscape. So as in empty method of painting now, in the last step or the second step, we completed the block in. And now I will go into painting details of each shape one-by-one. And this time we'll be taking our time to slow down and look at the painting much more in detail. And then the variations which we need in each shape and then complete the painting. So now, looking at the whole thing, I need to paint the greens on the trees first. And then I can go into adding details to other shapes. Lesson I'll mix green first. I will mix a green color here in this area so that you can see, see it. And I can still keep these colors for use later. So I'll start with, I want the green to be light. So I'll start with the yellow ochre and then add blue to it. I want it to be even more yellow. If I was not using limited palette, I would have chosen lighter yellow, something like a chrome yellow to lighten this green or make it bright. But since I'm only restricting myself to these three colors and wide, I'll be using this yellow ochre itself. And now I add this green, do this tree on the ballot in doesn't look like green. But when you apply it with reference or received with the reference for the whole thing, starts looking green, which is what is necessary. Because the colors are relative to each other. They should look correct on on the painting itself. You can see that I am applying the pain like a paste and I'm not ingesting the or dragging the brush too much. Let me add some white Buddha, yellow ochre and I can use that light in some places. And one this dotted green once again, so I'll mix some of that again. In. I needed thin small quantity, well then I needed it and use it here. Do grading, somebody deals. At least the shallow water of some of these leaves will have this, this dotted green which are mixed now is not as dark as the previous one as the original data. But I'm okay with it. Because the mountain color and gets into it, it becomes light. So I'll do mix it again. I'm just touching the brush and lifting it so that it doesn't get mixed. I shouldn't have worked on the mountain first before writing the details. But anyway, so that when I work on the mountain and doesn't this term though among the stove, the shape of the tree. And just keep it at this. I see if I need to add anything later. Now, I liked him this green and blue because I want to use this same color on low R0 in the background. And one this green to be lighter than this one. And more bluish. Same goes here. This green, even though it is darker than this one. And also this one will go the other way. The bending will not read it correctly. Now let me come to the mountain. And in the mountain I need first need to 19, I can use this color, but l, l have Ghost. Make more of it so that I can use it as the color of the rock or the soil on which this sunlight is falling and there is no foliage or Greece there. So that's why it's looking like let me test this. Yeah. Looks good. And slightly more burden on I do that by adding some glue to it. These mountains. These mountains, how kind of layers? And its Coleman Lucy. Rock formations in-between lines where there is vegetation, then where there is no vegetation and so on. I think I need to make it slightly more red. At least in some place they can get, getting more reddish. Continue creating this. Some just seen. And coming with the light and color. Once I finish creating knees. Even though this is this ADR ECUs doesn't receive direct light. And he showed this formation wherever it is. Oh, I need to bring that anyway. Now I'll come in with lighter more than on the same color. And add that required a bunch. In some places. For the data foliage or the trees to show up and then see if I need to add this light. Now mix the dark color. And I'll be using that to suggest this 3s which are growing on the on the mountain. So again, creating, I'm mixing our dark, dark green, blue, green and use it in some places, not in all the places that is rich. In even more because of the shadow. I do not want to show a lot of details in the mountain because then it will take away attention from this idea. But I still want the mountain to have that solid duty. I'm do work in closer and values but then different colors. I need more of alter Marine on my appellant. And some yellow curtain making green. All the initial judgments which we have done of all the values, all different shapes change later on as we go on and go ahead with the bending. Because you need to reassess the value structure as we go along, as we add more and more details to the painting. And so deciding the composition, designing the values is not a onetime job and then it's all set. You need to keep an eye on. If everything is going as per the plants, if not be able to change things up to get things in control again. So these brush marks either creating a kind of texture which was not Derek uglier. I look at the painting from a distance to see if it on looking good. So this is getting too much of an attention lightly making it smaller in size so that and doesn't attract so much attention. Looks good now. Now what I'll do is I'll go ahead and work on other EDS before I what do anything on this. And I don't want this peak to be so prominent. But what I'll do is then become this guy in color. And then slightly make this blunt because it's attracting too much attention. And anyway, the mountain is not the center of attraction. Now I see that I need to make this slightly lighter in color. They go lighter green. Applied here. All these what I'm making now out of final adjustments. And unless you go in mitotic fashion, you won't see these opportunities are CBs things DOD? If you bend in half as R&B, we don't. Following a proper structure. You might end up doing something which you have to undo later on. I need this bottom More precisely because the bronchus right now looking really blur. We should not be the case. I want to make certain, CMA is what makes the initially our work our own these this brown, this drunk when this light and color all the mountain so that I get the required him. The dot extended to get muddy you very fast menu when white get mixed in them. So in oil bending, you have to always pay attention to the darks globally. Because while you can. Creating very easily when applying color. Iron, binded the shadow and do wipe my brush in between so that and for that I have to use this color, not that because it needs to be dark, but red because the shadow is falling on Earth or red. Soil. Test to maintain its robustness should be enough to suggest. I'm softening this edge. I've got our sum. In contrast, when I apply this light color. And now I think I need some shrubs here which are very far off, but then they should be seen otherwise. They'll be small in size because they are almost toward the bottom of the mountain. But let's see how this would look to be. Okay. If I don't paint these, then it will look as if it's again a cutout. This distance. And some light here also. So again, I need this dark color to make, to be mixed with the red hair blue, and kill the chromite. The third complement, which is the third color on the compliment, which is the yellow ochre which we have. And let's see how this looks. I need some more blue. What would happen if I add yellow grass here? I don't thing. Look nice. So I'm not adding, not adding that. And I need that. Originally. This color looks to plane. So I don't want the viewer's attention to go away, but I also don't want any details there. Let's draw some lines like this. Suggesting lines. Something like this. Ooh, flat. Because it is something. I need some, some dark here dots bottles that contrast. The shadow one disturbed. And I add some highlights on the ground. Let's leave this color looks good. Because the load line also will get some highlight. What I don't want this orderly brain. Maybe suggestion only thing should be enough. Should be enough. I think this has become o uniform. Need to break this uniform ED somewhere. And for the, and again, I need color. So as you can see, I'm going step-by-step into each each shape and then trying to adjust what it means. Because now we have a lot of information from the, in the painting, which means there is lot which has been already done. And so now we have to, it's easier for us to see what the bending needs rather than there is less guesswork involved. And then I think I'm getting closer and closer to the finish line. And the bottom of the tree does not receive so much of light. Comparatively where the foliage will be dark in because it will be in shadow. Finally, these kind of situations. More precisely. Let me, once again. Yes, I think it's time to call this painting is done. And I hope you have enjoyed it. And you also side Howard vent from the photograph to this composition, to this final painting. And I hope you will paint in this yourself. Maybe you'll use the same composition may be, you will try something else using the same photograph. And now let me reveal the painting by removing this tape. Before I take. So here is the final painting. And I hope you like, like one DUC here. And now that I can see it from a distance, I again, I think I can add some variation to the outline of the tree by adding a few more leaves which are poking out. Something like this. I will assign this quantity. Here, goes here. Yes. Thanks. And I hope you will yourself attempt to this painting level. That's where you will grow, your art will grow. And then with practice you will get better and better. And finally, touch and add some. Why'd I learned here? I don't want to over lowered. And then Tina, thank you and see you in the next painting project. And hopefully you will post, you will bend this yourself and learn things and also ask me questions if you have any, so that we can all grow together. Thank you and see you in the next video.