" Moody Winter Watercolor Landscapes " | Suhasini Badam | Skillshare

" Moody Winter Watercolor Landscapes "

Suhasini Badam, Watercolor Artist

" Moody Winter Watercolor Landscapes "

Suhasini Badam, Watercolor Artist

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11 Lessons (2h 15m)
    • 1. Introduction to the class

      1:56
    • 2. Let us know the supplies

      3:03
    • 3. Techniques

      18:46
    • 4. Class Project - 1

      24:25
    • 5. Class Project - 2 Part - 1

      13:55
    • 6. Class Project - 2 Part - 2

      13:47
    • 7. Class Project - 3 Part - 1

      15:47
    • 8. Class Project - 3 Part - 2

      12:56
    • 9. Class Project - 4 Part - 1

      22:10
    • 10. Class Project - 4 Part - 2

      7:41
    • 11. Thank You..!!

      0:57
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About This Class

Hi Friends. 

In order to celebrate this cheerful and colorful festive month i have come up with this class where we will learn to paint 4 moody winter landscapes.

When we hear word " winter " , the first thing that comes across our mind is "SNOW" So in this class we will paint 4 beautiful and different Snow filled landscape.

67eee709.jpeg

And you can also incorporate the elements you will learn in this class in card making or other artsy projects.

If you try any of the class projects , please upload in class projects section or if you upload in instagram tag me in your works so that i can see and review it if needed.

My instagram link is : @art_by_choice_

Have Fun Painting.. 

Meet Your Teacher

Teacher Profile Image

Suhasini Badam

Watercolor Artist

Teacher

Hello, I'm Suhasini Badam, Watercolor Artist from India currently staying in California.

I did my bachelors in computer science but destiny has its own decision , Picked a brush inspired by some Instagram painting posts and from then it became my full time job .I started working with watercolors from 2018 and i paint  different subjects but Landscapes stole my soul .

Now I paint mostly landscapes as i am attracted towards Nature .Nature has my heart .

i do paint Florals and Acrylics sometimes . but majorly i concentrate on painting landscapes in watercolors. you can find all my works in my Instagram profile . 

 

https://www.instagram.com/art_by_choice_/

 

Here are some of my works 

 

See full profile

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Transcripts

1. Introduction to the class: Hi friends. I look into my class. So to celebrate this colorful and cheerful Vesto month, I have come up with a new class that is mood, even dare watercolor landscapes. So we generally see bright and colorful paintings around when we think of Christmas or Winder. But I wanted to showcase the Moody's head off window, which we all see, the snowfall landscapes and snow-covered trees and such a beautiful and elegant Marie landscapes that are around us, which we often forget to enjoy. So before striking our glass, grief, abort myself. My name is 10x. I'm a watercolor, is based in California, working with water coalescence two years. And I mainly concentrate on watercolor landscapes. So this is my ski shared profile where you can see my previous classes. So in this class, we will learn to paint these super fun and easy landscapes, which you can incorporate and make your own greeting cards and many fun stuff. First, we will go through all the materials required, and then we will learn some important techniques that are required to paint these landscapes. And we're going to pay in these beech trees in our landscape. And then little pain these amazing for moldy winded landscapes. So guess without wasting any time, let's get started with the next lesson. That is sublists required. 2. Let us know the supplies: Hello guys. So let's have a look at all the supplies that are required to finish our class projects. So first let me talk about the color palette. So this is the color that this is the colored palette that we're going to use. So it has mics, shades. So I have squeezed faint from different brand tubes. These colors are mainly from art philosophy and white knight. And this shared particularly this is olive green. This is from insulin Newton brand. So I'm going to use this, this olive green from the different brand. And these is the ballad that we are going to use for then dive glass. And next come the paper. So paper is very important while painting. So the paper Quality defines our quality. So the paper that we are using is Archi's three energy as sum and a 100% cotton. It is a cold press paper and I'm using a block here. It is. Arches watercolour blog. And that is the glass project that we are going to brain dead. Yeah. And next, the brushes. So these are diminishes that I'm using. So do art from silver black velvet. So these two are from Cilla Black Velvet, size number 812. And this brush is from Princeton velvet, touch long round size number eight. And the next one is any any brush which we will use to apply the masking fluid. So any older brush is good enough. And the next one is gosh. So here we need some vide. Gosh, I'm using lot deserve, I'd Gosh. And then Z and Arizona sketching and a masking tape to Moscow damages. And mosque include. So we lose this mosque included for bending the beech trees. So this is from Guo Qu Wo, our brand. And next one is this white, literally crayon, crayon or oil pastel. So this one is required for our class and paper napkin. And last but not least, do that clean water. So guys, that's it. These are all the supplies that are required. So without wasting any time, let's get started with all the templates that you have at your hand. 3. Techniques : Hello guys. So these are all the class projects that we are going to paint in this class. So this is lighted Christmas tree and this is seen with houses in it. And this is winter landscape with pine trees. And this is the last, it is a landscape with beech trees in it. So in order to paint all these glass projects, so we need to learn certain techniques beforehand so that it will be easy for you by binding. Why painting that last projects, like the bridge trees in this painting. So we will learn that how to paint now. And the tree, the snow field, pine tree. So, and we will also learn that now. And in this painting, the background please. So we do that in Bhutan where techniques or released they have to pay that techniques glass. So these are all the things that we are going to learn now. So let's get started with the snow filled by injury Fest. So I'm digging it up sheet. So we are going to pay in this novel binary in Bhutan where technique. So we down-weight means red paint on paper. So red pepper means I'm getting the paper with water. As you can see, I'm losing water and spreading it all over the paper. Where I wanted to paint really should be. And now I'm mixing the color for the binary. So for the binary, I'm using Payne's gray here. I'm mixing Payne's gray and ultra moraine to get this beautiful dark at dawn. So now the paper is wet, not watery consistency. We need the bank loan to be damp, not too watery. So now I have taken whipped instead long-run velvet touch pressure and see my paint is bleeding, but it is not building too much. And paintings and pull strokes to the right and to the left. And as this tree will be in the bank dawn, we do not need to add much details. So we need to just form the shape of the binary so that it will look like a pine tree obviously. So some stroke to the right and one stroke to the left. That's it. You'll get them beautiful binary. And I'm adding darker tones here and there to maintain their depth. So and have also sprinkle some pain, as you can see, it will give a beautiful effect. And now I'm mixing some water into the same mixture and bending some background trees. C, seemed that three that I held fast painted is in Dhaka Dawn. And the three now I have been there isn't a lighter drone. And you can clearly observe that the doctor dawn is forward dream and the dream, the lighter tone is a background back backward, delete min that is present in the backside of that friendly. So that donor difference, we can create the painting. So that's it. So this is the first step of printing as an offering to binary. So after this step is finished, we have to pay in the binary invite, gosh, so I'm taking white Bosch from odd visa and mixing the white color. Yeah. And and you have to do this white Grolsch step runs, the background is completely dry, runs the radon weight. Binary is completely dry. So my pine tree is dried. So I started painting this wide gosh by injury. And if you see, I'm just painting a binary on the top of the background using white Ghosh. But I'm not filling the entire background area. As you can see here clearly. The background by Indri is more wider. But the binary that I'm building now is a bit narrower compared to that background. And ambient being the same simple strokes, one to the left and run to the right. And I'm adding some simple darks are lines to the edges to make it more interesting. And now I'm mixing. That got thrown off pains grid. So our second layer is finished. So this is the third layer that we are bending. So I have taken a darker turn off Payne's gray and bending the places where there is no light. That is the bottom part of the pine trees. The bottom part of the brand is for the binary. See adding this Dhaka don't created so much depth. Three. And you can see how beautiful our binary is looking right now. Beautiful and realistic IC. And this small step has changed. Showered by N3 is looking c. So that is about the first one. So the next one we're going to learn is this background trees that leads that are behind the house. So far this also we are going to use wet on wet technique. So via I'm alive, I have chosen met on rate means. So as you can see, the background trees are very blended into the background. They don't have any hard edges. So it is only possible in wet on wet technique if you don't want any hard edges, go for veteran rate. If you want any harder, just then go further down, right? So here I'm going to bet on red technique. So I'm mixing color for the background trees. That is Sap Green and some Boucher and blue. I'm taking AS AB green and blue. And check your flip. Check your paper is damp or is too watery. So I haven't dropped some smaller drops and you can see the drops are not spreading too much. So now I can start. And again, I'm making some tree shapes. In the background layer. You don't need to be particular about that. Tree. Shapes are three details. Didst make sure to form a shape which looked like a tree. That's it. That's all I needed. And C, M list. And I'm also using ultramarine directly from a palette. Sometimes these kind of Collider friends they make are bending more interesting. And in the bottom part, and bending with more Dhaka Dawn. And yeah. And while painting this admiring doc add-ons in between. So adding that ketones, we'll make it look interesting. And we can also notice that depth for the painting. And now I'm scrambling the same color tone. Be sprinkling is a great technique which makes of a painting more life, life, lively. And this stopping when British lets it. And you can see the background, trees on branches kind of thing so that we will lose some pointed end. So this mesh has appointed, and so I'm taking this British and making some lines under the trees. So this step you have to do when the paper is damp, not to vet and not too dry. You have to make it at the right time to get these lines. So if you don't have appointed and brush like this, you can use your credit card or whatever card you have. Or you can also use a CSS that you have. And now I'm sprinkling some freshwater using my finger to get this beautiful snowball effect. As you can see this English, the past change, this scene. Have just sprinkle clean water. And you can see how it how these boundaries are looking as if this noise falling. So the next technique that we are going to learn is this bridge d's. So in order to paint this bridge Ds, I'm breaking it up sheet and drying the shape of the beech trees. So I should do to three booths trees so that, you know, clearly have to bring them. So these are painted induce steps fast is bet on Rick and second is wet and dry. So the first step is that on it. So I'm getting this bitstream areas. I'm applying water onto the area they have sketched. So now this is what, so now I'm taking a pointed and British, as you can see I'm using, but instead evaluate around long-run and I'm mixing color. So I'm using here Brandt, Amber and golden deep. And now comes the fun part. So I'm just applying paint here and there. But not filling the entire tree. I'm not filling the end directory. I'm leaving whitespaces and adding those brown spots. So distri has dried. So I applied of order again and doing the same thing, just add Bain Pierre and they're living wide gaps. And if you don't innovate really wide gaps and wait to paint those brown shade. You can always take the friends from the real beech trees. And you can see real vans and nu can be. And so now this one also has dried up. And now I have blade rotor and starting again. This some patches here and there. And some lines, smaller lines, as you can see in between these bars. So now our first step is finished. That is bet on which the piece finished. So the second step is Madonna, right? So for this, I'm taking some darker color. I'm mixing Brandenburg and veins. Glad to get more Dhaka dawn compared to the background color that we have used. Yeah. So now we have to paint a random Mao background that we have been released, right? So my backbone has dried, So I started painting. So let me let you have a closure. Look. So this is the old brown layer that I'm doing. Make sure to leave the whitespaces and add the same as we did in the first layer. Some lines and some dark spots. That's it. You will get a beautiful width tree very, very easily. See I'm not doing anything. I'm just adding some docs parts and some lines, some strokes off lines. That's it. And don't cover the entire area. Always remember to leave the whitespaces. That's it. And same on the remaining trees too. And valuing this, make sure to use appointed and brush. So it will be easy for you to make those more lead lines that I'm making. If you don't have appointed enrich, you can use a smaller number or 0 British or Irish liner brush. Let me add some shadows. So I'm using my ballad leftover and just hiding shadows kind of thing to make it more interesting, to make it more interesting. So that's it guys. Which trees are almost ready. So the last thing is adding dried stems. So I'm adding these lines here and there. That's it guys, satisfy simple technique, such simple way dist EBIT of practices required, that's it. So the next technique that we are going to see is how to do this reflection. But so this reflection part is done using light crayon or white oil-based L. So I have used oil based and so I got these white spots kind of thing, which is perfectly looking like a reflection. So I have to do that. So I'm bending some trees first. I'm just spending with some strokes. And just to show how we've told the shadow looks. So now I have been to mid-30s. So whether shadow, but I'm using the oily based in, and just grabbing onto the paper under the places where those genes are present. And I'm using some color and bending audit. You can see the oil-based Elle has blocked that color. Oil-based Elle has blocked the color. You can see clearly and it be scraping such a beautiful reflection effect. And now this is the, this is the lifting technique is perfect for representing waves in the water. So I'm washing off membrane completely, removing the excess water with the paper napkin and wiping off pain from that. And that's it. So these are all the techniques that are required and we are ready to start our glass projects. Let's start with our gas project. One. See you there. 4. Class Project - 1: So let's start with first class projects. So our first-class project is going to be this beautiful snowy binary scene. So let's start doing that. So I have, they've done the IHS and let's do the sketching part first and then we'll paint. So there is no much sketching in this. I'm just sketching a horizon line fashion. They're the base of the pine trees will be. So this could be the place where it binaries base will be. So this is the horizon line and LED_ON a place the horizon line at exactly muddle. Always place it down on the center line. And I am also drawing some lines here. So these are the places where I placed the binaries by lambda nb. So I made a quick sketch and very, very lighter sketch. So now let's start painting. So here I have started with the color. So I got this electron by mixing Payne's gray, ultramarine and Clemson. So I started bending. So this is if I don't write epic, obviously I did not apply any water. So and if you see I left three rights basis by bending. So I don't want to apply uniform color all over the background. So I left those by its business and now I'm spreading them, mixing them using water. And you can see my palette, and you can see how I'm mixing colors and the below tab. And mixing bands, great ultramarine blue and crimson. So and I am painting some Dukkha Dawn and the bottom part. And at first I am this bending only above the horizon and below the horizon will be snowy. Snowy based bought. So we will do that later after completing out binaries. So and if you're not comfortable with doing this bag grown in wet on dry technique, you can also do in radon where technique, so venue at losing weight Andre technique you have to let faster. So if you had a big unit and if you contract that foster, You can always use wet on wet technique. And now I'm filling this another base, but the binary spot. And I'm not filling the foreground part with Dell bass note. So in order to, to present the snow, I'm not using any thing that then divide onto paper. So the paper itself acting as snow in the bottom layer, the bottom. But and now I'm taking it in stand well back that long row, number eight, British and mixing the share. But for painting paint findings as we have learned in the techniques glass. So we will append the pine trees in wet on wet technique first and then we will add light on the top of it. So now I am mixing a darker shade of the same color as I have used for the backlog. That is Payne's gray, ultramarine and crimson. And this will be a monotone bending that is, we are using is initiated for the whole bending. That shade is banes greatness, ultramarine plus crimson. So I'm using that color tone and pending the binaries. And if you see my binary is not spreading much. Even though I am using wet Henrique technique, the paint is not spreading much because my, but it is just damp enough. It's not two or three, it's not to vet it's just damp enough. So my boundaries are not so spreading. We got some beautiful edges. So I'm painting binaries according to the lines that we have drawn. And no need to add much details in this part as these binaries very spread onto the background, and more details will be visible as we're painting on my downward and pine tree. One stroke that side and run stroke decide then beautifully by entry. And this boundary I have painted using a Docker donor value. And I'm varying the tonal values for these trees. So the trees with the less tonal value will be represented as a background. And that reads with the higher tonal value will be seen as a foreground race. So if you see this five by interests here. So the binaries that are to the left with more tonal value so that the foreground and in the center of binary, it is much lighter. So it will be represented as a background binary. So this is all the visible radiation that we get using the tonal values. And it also I am bending one more boundary. Same Don Read technique. So he Emma Pepin guardrails, so have sprinkles on water and then I am bending. So I've made the background tree is Ledi lived there, so I have added some Dhaka Dawn. And do this. If you're pepper guard, right? Do not disturb underdog place anything. Even true in that painting. If you bend when the paper is very dry, you'll get sharp edges. So you can add one more layer on the top of it if you need any, if you need to do any corrections. And here I am representing this node by bending the negative edges. So I'm bending again with the same shape but with more order. And don't fill up the entire space lead divide gap. So they only represent this null. And this all you agree that I am bending is the shadow that is present on this node represent the snow. So now our background is dried. So now we have to paint the binaries using whitewash. So now I'm taking gosh, gosh band is from Visa and I Msin Cilla Black Velvet size number eight, British. And I'm mixing dissuade clash with water. And I'm painting a pine tree on the top of the pine trees that we have painted in the layer one. So we have learned this in the techniques glass. This paint a binary on the top of the binder that you have painted in the layer one. And don't be more specific in the shapes again here, just Use your brush, use the paid off your address to spread paint more so that you can finish the branch of the binary in a single stroke. And you can always stay with some darts like thing at the edges. And I'm doing the same for the remaining all binaries. So this landscape is such as in building a fascia layer binary that is wet on wet binary. And then invite gosh bindery. And later some docker details. Details with the darker tone then are bending is finished. So this is simple. We've got a beautiful snowy landscape effect. I'm filling up all the binaries with divide Gosh. And while filling your buying tribute divide quash, make sure the black on the first layer is visible. Do not cover the entire background binary. If you cover them, their background binary, then it will not. It will not be as a snow-covered binary looked just white and white. And if you don't think this is a simple technique, always practice on it up sheet before playing on the finite B's. So try these binaries on that sheet and then come to the painting. Since this bending and deadly consists of only these binaries. So if you don't know how to paint those, you will ruin the painting. So always practice before and start bend. I'm doing the same. Okay. So now I'm mixing our DAC button to add the highlights to the pine tree so that we can define the pain very well. So I have mixed to the same dawn that is a Payne's gray ultra marine and crimson. And I'm just adding darker values to the negative spaces of the binary dish to make the binary Look defined. And while doing the spotter don't fully dark shared disk arcs that are required to be darker. I'm doing the same, put little meaning by increase, adding that up at dawn. Basically I'm adding dot gotten to the bottom part of the branches of the binary. So the snow will fall on the top and the upper layers of the branches. So the bottom byte will be darker. So I'm highlighting that part to make it look as snow falling binary. And I'm using more darker value at the bottom part of the day. As you can see, some lines in between. I'm adding a background binary here. So I am writing it in red on red technique. So as the police drive, I sprayed some order and then add in the boundary. Now I'm adding some highlights. Like a dried branches. I am adding the dryer branches are dried stems, stems here and dare. To make our domain, our painting look more beautiful. See I'm adding using my same Princeton well-written. Some dried stems are fix our grant is kind of thing in between these binaries to make it more realistic and interesting. And don't add them too much, too much of pilots will always boil the painting. And if you don't know to add these small lead lines using a bigger brush on this, use a tiny brush, tiny number brush our 0 British online at rush. Don't experiment using the bigger pressed to paint these lines on the bending on the final piece. You can use a line at brush to do so. And our painting is almost finished. See how our painting guard it's shaped from the beginning. Such a simple technique, such as simply way of adding dist of binaries. And we've got a beautiful scenery. And now let's add snow, obviously. So without snow, it will not look like a snowy, snowy landscape. So before doing that, I am this adjusting the whites on the binaries. And I am adding some more highlights and the whole drawn but some Dhaka value. And add in some smaller, smaller impedance. To add this node I, I'm mixing light Bush. Again. I'm using white gosh again. So if you don't have a white gosh, you can use also white paint. Very thicker white paint to paint the snow. But in order to paint those binaries, you must have a goulash. So the watercolor is more transparent. So you cannot paint that white color on the top of a jacket dawn using watercolor. So you must have a goulash. And now I have loaded my British. We tried cosh and sprinkling some snow using my hand, using laughing there. Had some ledger drops and drops onto the scene. So it didn't even look like some larger chunks of snow falling and some tiny, tiny particles of small do. So. It will look very good if you vary the silence of the snow that you are sprinkling. So now fainting is almost finished. I'm just seeing if there is anything required to add. Adding some more highlights. And yes, we have successfully finished our first class project, which is this beautiful snowflake landscape with the binaries. So see you in the second class project. 5. Class Project - 2 Part - 1 : So let's start Glass project number two. So in this glass project, we are going to paint some beautiful scenery, Winder scenery WE tells us in IT. So I'm starting by dipping down the edges. So I have taken here seven by ten artists watercolor bag. So this is called Prestero developed bag. And yeah, let's start with the sketching quest. So there'll be a little sketching for this and landscape. So I'm starting by drawing a horizon line. So it is always important to start our painting by drawing a horizon landfills to see of it. Our base width b n where the sky and the ground but will be. So I have drawn my horizon line and now I am placing the houses. So you can see from a closer look. So I'm sketching using Gamblin pencil. And you can use any events and this is this inbuilt sketch and sketch in house. I'm speeding up the broadest Just a bit. Since this is only the spit in part. And as you can see, I'm just getting the roof of some other house. I'm getting some group of houses and a group of 33 to four houses, I guess. So he entered a house. And here there'll be gleaned bushes. I'm just outlining some bushes. So now our splitting is done. So let start to paint. So under Skype, but I'm going to paint with Violet, don't. So we get two islet by mixing ultramarine and crimson. So here as you can see, I'm mixing ultramarine and crimson. Really get a beautiful violet, don't. And I'm adding a tiny bit of Payne's gray into the mixture. Your underlies the color as the violet is very vibrant. So I wonder neutralize EBIT batting Payne's gray. So now mixture is ready. So I'm bending using radon dry technique here. I did not apply any water on the surface beforehand and directly taken up paint onto my brush and blessing on the paper. And here I'm bearing bending irradiated wash. As you can see, a variegated wash is our gradient. Gradient wash is. There's something there. We can see the color tone difference with the top back, very good writer and coming down will get lighter and lighter dog. So now let's do the bottom part. The houses bought. So as this bending the first layer, let's place all the colors. So now I'm taking Cilla Black, well-lit a parish, and I'm mixing collect Dolan flat the houses. So I am living that roof pot and I'm bending the house walls. So I'm taking here blue, cobalt blue. So this is cobalt blue and a tiny bit of cultural moraine and more water. And I'm building this house with very, very lighter tone. And I'm filling that side of the house also with the same color. And I am leaving the top part as you can see that. But, and now for the second house, I'm taking crimson and Brandenburg. And here I am bending their roof. And now I'm mixing cadmium yellow and permanent yellow deep and a little bit of golden. And even the third house. And here also I am living that off, but so now very paint the background trees. So remember, I'm bending the background trees when the Skype buddies Gleevec. So not completely vet, distributes a damn. I'm mixing the colorful trees. So I have taken olive green. So this is the only color that I'm using from Windsor and Newton rang. And I have mixed olive green and ultramarine blue together, darker tone of green. And with eight Cilla Black Velvet, a brush I started to paint. So he had this part has dried so I spray some water to make it vet. And We have learned how to read downward trees in our techniques class. In the same way I'm doing an in-between, I'm using ultramarine directly, declared some color variations. And if your pepper God tried by bending this and wait, the paper Gertz completely dried and then apply Canada court of water clean water, and then start painting the trees and the bottom part of the greens. I'm naming it with the darker dawn wear makes in mod veins great, ultramarine little aka dreamed on. And I'm carefully painting at the address on the houses. And I'm leaving the place where I have drawn to pay in the bushes and ending across that. If you see I'm using the same color, olive green and ultramarine MET, I am marrying the kilotons by mixing more ultramarine or more olive green, you have to mix more ultramarine ketones. And I'm using ultra marine directly in some places. As you can see. If your paper is getting dried in the middle, you can use a water sprayer to make the particular area that I'm adding some doc ketones to add some depth to the background trees. And I'm sprinkling some of the pain. It gives impurity for leverage. So I'm sprinkling some paint. And now I am defining the edges mode. So now I'm mixing again colorful, painting them bushes. So I'm begging olive green again. So I'm bending olive green directly without mixing and make a letter under it and disbanding. I miss filling the gaps made. I have left. Dawn. If you say now, I am taking the green and ultramarine mixture and sprinkling it with my finger. So this small, small things will give beautiful ethics in our paintings. Now, I'm taking a brush like this which have a pointer and you can see, or you can also use some pointed end things like the scissors to. So now when the baby very still damp, just making using the pointer and drawing lines. And you can also use the scissors or some thing with sharp edges. See I'm using my scissors here. Use the site off your scissors and just scrape off as middle line. So it will look like some dried stems are the branches, stems for that background trees. And I'm doing some series of stems here. Our background is almost finished. So here I'm creating some snow effect by sprinkling some water droplets. As you can see, I'm taking glean water with my finger and this sprinkling onto the background. And you can see clearly how beautifully we got the snow effort and sprinting exam, a tiny, tiny droplets, some sufficient. So now our background is done. So we'll wait for it to dry and later we'll bend a bottom part. 6. Class Project - 2 Part - 2 : So I'm mixing the electron from the bottom part, then the top andres. So I'm using Certainly in blue and a bit of ultra marine. So at the bottom, but we are going to paint snow field roads. So I'm using this no color. So I'm creating this no color. Mixing Sara Lee and blue and ultramarine. And I'm painting a very, very lighter tone. So I'm using wet on wet technique here. So I painted water. And next I am taking my painfully creche and bending over that. And as you can see, I'm bending very, very light at dawn to create that snowball effect. As we know that it's noise, very, very delicate thing to look at. And I'm living the whitespaces, adversities and MNIST painting the negative spaces lit this noisy shadow, say, shared. And as you can see in the background, trees, the water that we have sprinkled has taken its shape. And it is looking very, very nice. And as you can see here, I'm also sprinkling some water drop, some paint droplets. So these are the small, small things that makes our painting more interesting. This water spring links are Dupain's print links or some adding some fixed with the scissors. So these are all the things that makes our painting Interesting. So now I'll painting is dried, so we do the second layer. So in the second layer we are going to define these houses. So as you can see in the first layer, these houses are not well-defined. So in the second layer we will do that. So I am taking here Prussian blue. And with that person blue and diversion Isaac and save and bending the halls. And now I'm taking this pointed end. Notice Princeton malware that long round and bending some docket Don at the edges. Now I'm mixing ballot on first, second homes. So I'm taking brand Amber and some golden laminar low. And I'm building up the second house. So now I am making the bottom part of the trees more darker. So I'm mixing the same tone that is olive green plus ultramarine blue. And defining these ingests by painting it. More jacket dawn. And here I'm using a piece of paper napkin and wiping off the excess paint. And now I'm adding edges for these houses. Say by defining these edges are borders when the houses we caught so much elevation. But these houses, so in the previous layer, these houses have very flat. But now we can see the different clearly. And now I am defining the r2 for the second house and list using the crimson and burnt umber, the same shared as we have used in the first layer. Now I'm taking some Payne's gray and with this Princeton long, round British, I am adding some dried stems and the bank loan. So already the hell bent and the stem using does idaho scissors. But I am adding some more using the Payne's gray. Yeah. And now I might in some windows for the house. I'm not adding any detailed windows here as you can see. I'm just, I just added as in little stroke with my British and YouTube practice that adding more details, adding more detailed versions when make our painting look? I don't know. I, I I'm not interested in the painting with adding with very much detailed. So you also can see the difference between the painting with more detailed versions and more loose forms. In here on the roof, I am adding a very, very, very light at dawn, all most rotary dawn to represent this shadow of snow. So I'm thinking that there is a snowfall and they're always filled with snow. So in order to represent that, I am adding some snore shadow. So now I am taking certainly in blue and ultramarine and defining these borders. Now writings, Moreland details. See adding some dried stems are ryan bushes kind of thing. I am adding more darker tone and the horizon line as you can see. And I'm sprinting some paint can button back as you can see here. And I'm rubbing off that droplets with measuring debt to create and mageia effect. As you can see after spraying that droplets, you again see the road as a dirty feet that if that erode. So now it's time to add the snow. So now I am taking our design gosh, and mixing my pizza, right, gosh, and mixing it with water. And now I'm sprinting is in my hand. And Bush to these houses. Borders. Don't make it look as if snow is falling from now. The roof. Now I'm defining these borders as men. We added this nodal borders covered with the slide, gosh, so I'm adding tiny small lines in between. Now I'd bending is almost finished and adding the highlights. As you can see. I'm speeding, speeding up this process a bit as this is not that important, but just adding the details. As you can see. I'm adding some dried trees in the bottom part. And I am adding more darker the horizon line. And now I added more darker tone to the windows. And I am adding some more branches in the background. So now I'm appending is finished. So I'm building off the mask and B and C. Let's see how our painting, the final bending looks. It was always exerted from this plot, I can finally see how the bending is looking. See you in the glass prism. The guys Hope you like this glass project. See you, they're in. 7. Class Project - 3 Part - 1: Hey guys. So welcome to class project number three. So today we are going to paint a bit streets landscape. So I'm again starting with the first step, which is sketching. So again, I'm here drawing the horizon line. So here my horizon line is above the center. So this is the place where my B trees, basically b. And now I am painting. Now I'm sketching the place where my magical liquid come. So yeah. And I have just speed up the process of sketching as this. This takes a long time and this is not that much interesting. And now I am sketching the beech trees. So there'll be a group of British trees here. So I am placing them on my landscape. Just two parallel lines. That's it. You will get the easiest tree we can paint. And now I'm taking masking fluid. So this mosque included is from kilowatt and I'm taking you wished a brush and covering the beech trees bitmask include. So we really paint the beech trees in the last. And Louisville paint the background first. So in order to cover the beech trees, I am masking it with masking fluid so that it will be easy for me to paint the background. It will be easy to carry the flow by bending the background if we mask the birch trees. So I am using masking fluid here and masking out all the bits trees. And via pending with using masking fluid, do not use a new British. Always use an old British as the Gumby lot go from your brush. So now I'm taking oil-based L, So bite oil pastel stick. So we have to paint the birch tree shadow in the lake. So instead of masking using masking fluid, I'm using oil-based elsewhere, HD kid. And just drawing the shadow for the abort to, to 2-3 trees, the shadow will fall on the lake. The oily PESTEL is just like a crayon. You can also use white crayon. And see, I'm placing Allah beech tree shadow between fall in the, on the lake. Yes. That's it. Now, it's getting bad. Is finished long. Let's start bending. So far. Let's mix the color at first. So for the color, I am taking ultramarine and mixed with Crimson. So we will get 11, of course, violet. And for this, we're going to paint in where Don Read technique. So I'm waiting myself is before starting. So I'm using a flat brush here to read myself is you can use any bigger brush available to apply VD or evenly. So don't use too much of water. If you use too much of water, the trees that we're going to paint novae spread more. And you cannot define, you cannot see the shape of the tree. So now I'm taking the appointed and brush and paint the trees there in red on red technique. See, my pain is not spreading dark much, spreading enough. So it's all in the application of force. So be careful by applying water. Don't add to my toe. Don't add to less. If you add two less than, it will dry very, very faster than you have to apply again and again. See, I'm painting that binaries. See this is the step that we have done in our flesh Glass project to painting EBIT on vet, find NH_3. And the cells are the same right on red pine tree. But this is with some different colored their sit. And don't worry if the shape doesn't get dried. We just want to give an illusion that there are background trees. That's it. See, I am also not painting much details here. And making sure that we can see the triangular shape of the binary. That's it. I'm painting the ends of the tree is now and merging them into the background. All this is when the paper is a vector. Remember, that might be very still wet. So that is the use of using 300 GSM automobiles and paper. If you use a less GSM paper, then your paper will get dried fast as the paper that will be very thin. So if you are using 300 on mosaicism, then debate buttery hold water and it will be easy for you to paint for a longer time. So now I have waited for the paper to dry completely. And again, I'm bending water and I'm applying water. C. Now in this path we want the paper dish to be damned benefit. So that's why I'm blow drying it using May and then some paper. And now I'm mixing the color. So for this I am taking again olive green and ultramarine blue. And I'm bending on the top of the background trees. So from here. So in my presentation, the list that we have, Painter Fest or the more distant batteries. So now we are bending the trees that are in the middle layer. And the forward layer contains beech trees. See, as we add painting, the middle layer trees have increases the intensity. So the Background layer is made with very, very lesser tone. Let's have tonal value and the Middleground layer trees, I'm doing with a bit darker tone. And the four wrong, let me be shining as you know. And I'm adding somewhat trees. And so my boundaries are finished. So and I'm bending the snow, but that is below. I'm not completely filling it with a lawyer. I'm just painting the shadows. And I'm using the same color as I have used for the background trees. The palate that we guard by mixing ultra marathon and crimson. And now I have added Payne's gray into the same mixture and bending the magical lake. At the first. At first, I'm painting using the light of dawn as you can see. And if you see now you can clearly see the places where we have applied oil-based, l's, right? Oil-based and we cannot paint on the top of the oil-based day. So it gives a few different effect. So if a user must include and we cannot see this effect, but with this oil-based and when you get a perfect charter effect. So now my paper is dried, dried completely. So now I'm mixing some darker dawn, olive green and anthro mundane and painting the lake again with the dock at dawn. On the top of that light at dawn one. As you can see, we are not getting any sharp edges. That means the vapor is deliberate. If the pepper has dried completely, you can clearly see the sharp edges. But that is not the case here. The peppery still wet and this bending using this knob got Dawn. And I'm using ultramarine directly in some places. And now I'm lifting of paint as we have learned from the techniques class, I'm lifting off famed from some places as you can see. If you did not watch the picnics glass, you can see how the look, the veined net glass. So now my paper is completely dread. Am I playing another layer onto the lake as a feeling that the lake is very lighter. So this one is completely dried. C, You can now see that sharp edges, which really that when you paint on my darn dry technique. Yes. Again, I'm lifting Oscar. So now our late but is finished and now on to the birch trees. So our background is dr. So I'm building off the masking dip that we have applied. The starting. I'm speeding up the process a bit of removing the masking give distributive fingers and rub. And masculine definitely be demoed. Lets it guys. So see you in the next part. 8. Class Project - 3 Part - 2 : Hey guys, welcome to part two of this class project. So as you can see here, and spraying water and removing all the paint from the lake. But so I thought that color at our that the lake part was too dark. So I am going back a step and removing all the paint. So to remove the paint I'm the spraying water onto the part where I want to be lighter and have cleaned it with napkin. And now I'm again applying paint onto the same part. So I have used here ultramarine and crimson on the whole lake, as you can see. And now I'm mixing a dark tone of ultra marine and olive green and painting the shadows for the Middleground trees. So it is important to check your painting in between to see if you are satisfied with your output or not. So when I checked, in this case, I'm not satisfied with the output. So I tried to make it right. So, and this sprayed water and continue doing. So you need not to throw your paper and start again. . You can always try to repair what mistake that you have done. So if it is not possible, then you can start again with a new one. So as you can see, no, I'm lifting off the paint and adding some waves kind of thing. So now my painting is, has come to the last part that is painting which trees. So I have mixture Brunt umber and Payne's gray and started blending these birch trees. So we have learned how to pain birch trees in the techniques class. So in the same way. First wet on wet technique and next wet on dry technique. So c m here, a plain water. And then applying Brown pain that we have mixed. And same for the same for all the remaining birch trees. Yeah. So and now I'm doing the second layer. As you can see. , chaise now painting second layer with a darker tone and practice them birch trees first and then apply it on the final painting. So birch trees is the main element of this painting. And now I'm painting some branches using my pointed end, right? Right. Yes. Sorry, this part is not visible and thus, I'm doing second layer up that's it. And now it's almost finished. I'm highlighting, but before that I am adding some more branches. Which trees? So our painting is almost finished and we have come to the finally part that is highlighting part So for this, I'm mixing ultramarine and payney's grey a lifting in some things clear and adding some lines. Water waves in the lake, painting small and tiny lines lines and and darkening the background tree. And now coming to the smaller things in the highlighting part, the days, adding some grass. So I am taking darker tone and adding some rocks and rocks along the lake and some grass. And by adding this, Don't be more specific. do loosely we have come to the end. And yeah, that's it, guys. I'm adding one more tree there. So after finishing your painting this look at it for a minute or so. I understand where you're painting is lacking. Or if you are satisfied with their painting, that's it. Then it is finished and you are ready to be let . So now painting is successfully finished. hope you like this class project See you in the next class project where we will see how to paint glowing pine tree 9. Class Project - 4 Part - 1 : So welcome to our final class project. So in this class project we are using only half of the seven byte then Arches watercolour sheet. So I have a down according to that and have to sketch first and then we paint. So we'll paint a glowing binary in the night scene. So let's sketch fashion. So I have drawn the holidays and vest, and now I am placing the center of the binary and destroying this stride Landow measure the center. And then now I am drawing that boundary. I'm just outlining the pine tree. Since we had bending a pine tree in the night scene, we have to leave the binary untouched. So it is important to draw that by injury before. So we can say it as a negative binding. We will leave the pine tree as it is and we'll paint the background at ONE that by Andrew first, and then we will come to that binary. So we're going to sketch the outline, but the pine tree, that is nothing difficult in this. So one branch to that site and when to decide and increase the size as we go down. That's it. This assaulting beak. And then we come to the bottom and adding a drunk. So now I'm taking Edison and just rubbing off that center line as we have finished out by entry and minimizing that center line. And now I am placing some set goals. As you can see, some smaller and some medium-size enzyme lambda circles. So these represent the bulbs that we place on the binaries. So we need to mask those bulbs bust before painting. So I am drawing the outlines, but those bulbs, and on the top of the pine tree, I'm blessing S dot. So this will be a glowing star. And hours getting back is done. So now let's start to pain. So before starting to paint, they have to mask those bulbs. And then after drying, then we have to start painting. So here I am taking Q or R Muslim fluid and sum all British and masking out those set goals that we have sketched. So while drawing, while sketching those circuits don't be uniform, don't be, don't sketch those circles in uniform sizes. Various sizes of those bulbs. You sketch, some of them are small and some mock them latch. So yes, now our mascot include is dr. And so let's start painting. So before binding the backbone, we have to paint the glowing bulbs fetched. So in order to create the effect of a valve blowing, we're using here cadmium yellow. And I'm mixing cadmium and low end painting. Ever own that and own the masking fluid that we have applied. And do the step only when the paper is dried. And after painting around that, just managing of the borders into the background. As we will get hard edges, as we have bending on radon dry technique, we will get harder edges. So in order to eliminate those hard edges, I am smudging those edges into the background using water. I'm playing cadmium LO At own those mosque included first and later, at least much them into the background. So if we don't have a cadmium yellow, use the shared that isn't eta to the color of light. It will be good. Don't worry if you don't have the same shape. And see, I'm smudging the edges into the background using water. I'm disrupting the edges and spreading them across. So we don't see any hard edges. And now I'm taking k1 remain low end golden deep and again painting at all and those must be included so that it will look in bit saturated. So now these two dry and then we'll paint the bygone show. Now that is dry it and we'll pay in the background. As I said before, we will leave the pine tree and we'll paint the background. And CM carefully applying water around the pine tree and for the binomial using wet on wet technique. So I'm a plain water and I have forgotten to fill the star using cadmium yellow, so I am bending now and I'm continuing to faint these background with water. And as you can see, and carefully applying order at all the edges of the pine tree. And now I'm mixing the shade for the background here and mixing vanes green and ultramarine blue in data codon. So add more Plains Cree, and I'm also adding Prussian blue. So I started out playing. And I am leaving some wide gaps in between. And I'm leading the dawn of the blue that I am a plane. So in some places I'm adding a docket. And in some places, like the dawn, mostly on the edges, I am adding the dad codon and at the center I'm adding a light of dawn. And I'm leaving the pine tree and fainting during remaining megaton space. The borders at the edges. And using more jacket dawn. Ok, MK, fully adding more details and edges of the boundary. And as you can see, I'm increasing the density at, on the borders, the jacket dawn. And at the bottom of the tree, I am using some cadmium yellow as the tree is two and the bottom ground, but we'll also have some light in it. So I use cadmium yellow at the bottom. And now I'm mixing the shade for painting the bottom below the horizon part that is crimson and ultramarine green screen that we generally use. So now I am fast painting the page entry by entry. So in order to present the snow of the pine tree, we appending the negative space again here we are bending the shadow of the snow on the binary so that we can give the effect of snow. So I have taken the same shared as we use for bending snow. I'm using ultramarine crimson and pain screen. Very, very light at dawn. And as you can see, I'm adding the chair to the borders where we can see the snow. And I'm also mixing a darker tone of ultramarine and pain scream. And in some places I'm adding the darker tone to represent the shadow of the tree. So in between the branches, it will be very darker as there will be no light. So those parts will be more darker. So we can vein that parts will be that with the data shared. Sea. After adding a docket, don't in-between those steps. It is vary. That binary has, is very defined, looks very defined. Till now it is not appearing as a binary. But after painting that Dhaka dawn, we can see the structure of the pain tree clearly. And I'm doing the same with the bottom bars. I invest painting this nor shallow, lighter tone of color with that we have repaid. Don't feel the entire pine tree. Remember to leave gaps. So those wide gaps on little present the snow. We had just painting this no shadows. So keep in mind and leave by its basis wide gaps in between. Don't feel the entire area with the snow shallow color. See. I have also done the same. And now I am building a darker tone in between the pine tree branches. That darker tone, ultramarine and pain scream. And while doing this step using less number. And they use a British That have shot but so that you can give the details more easily, which is difficult to give it the bigger number. So it uses more than number British. Even you can use a liner brush, but doing this step, leave the place where you have a intertidal. So those represent the light. So don't go over that area and the area that is remaining. As you can see clearly here. If I extend the leak across state and local level, I am again filling it using the sham shared. And here I am banding. And shadows. So now I am bending. So I'm using golden and cadmium yellow mix to paint this. And under the site I'm using adaptive dawn to give a glowing effect to the drunk. I have used cadmium, cadmium yellow Angolan deep to one side of the drunk, ended up at dawn to the ASOR say. So that, that, that tone I am using, I used the same shade as we have used for the tree. And here I'm using the backup tonal fellow to paint the borders but the stat to define the stack. So now we'll paint the bottom pipe. So for that, I'm mixing them back at home. Crimson, ultramarine and Payne's gray, the snow shade. So by appending the bottom part, the center part will be painted bit alone as the shadow of that lights, they fall on the ground and the ground will also shine. So that part will be lighter and the edges in the border box will be darker. So I'm bending the lighter shade first with the cadmium yellow. And then I am bending, adjusts with the docket dawn that We are mixed. And I'm also using colon deep in between. And as you can see, and I'm smelting that wide-area. It might push. I'm mixing a jacket dawn to pay into IHS. So we will see the next, but we'll see that in meaning pending in the next path to you in the next lesson. 10. Class Project - 4 Part - 2 : So that is our bending is almost finished, so let's add some snow and snow fall and then finish our painting. So the snow I'm taking wide quash from autism and I am is inhibiting its general vector expression. And I'm mixing this byte quash with water. And I'm just playing this wide cosh at the borders of the pine tree. And as you can see, and by applying a wide cosh 2x this binary, make it the mixture. Don't use much order to mix this cosh. Use it. That too can apply easily by this binary. So do not miss this step. This step we make so much difference. The effect of snow on the, on the edges. And if you mistakenly Embed area with color, then you can also use white Bush on those places to uncover it. And I'm adding docket dom, do or not, these places, as I phrased, the depth, is Muslim slightly. This painting requires a lot of detail. So be patient by trying this class project. As this will require a very delicate and very small things to finish. I'm adding more docket door now in Rick Andre technique. I know I am bending the snow. I'm using the same Ride crash and sprinkling using my hand. And I am adding some Labda starts. I'm adding some finishing touches toward bending. Am I adding some weight force to the fulcrum Nadya. So that's it, guys. Painting is almost finished. I'm just going to add some. So now what I'm peeling off the masking tape that we have applied first. C Now we can see that bulbs ASM blowing clearly. So the guard dispute by using the masking and do the step vendor starts when the whole painting is drying, then only do the step rate gets dried. So appending is now finished. I hope you have enjoyed bending this one. You can make greeting cards using this pine tree. See you in conclusion. 11. Thank You..!!: You have made it, you have made to the end of the gas. So I have created this class for you to sit back and enjoy this beautiful process along with a lot of learning. So I assume you have learned a ton of new things by now. So if you paint any of these for class projects 1234, please post them in the glass products section here. Or if you post an instagram tag menu of x, my ID is Ad by choice. You can find in description to. And any questions. Feel free to message me or command here. Thank you for joining the glass. Hope you have a great time. See you with another lovely class. Thank you.