Oil Painting Project - Monsoon Meadows | Mandar Marathe | Skillshare

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

Watch this class and thousands more

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

Lessons in This Class

6 Lessons (1h 31m)
    • 1. Introduction

      0:43
    • 2. Monsoon Meadow - Step 1

      6:57
    • 3. Monsoon Meadow - Step 2 - Part 1

      26:34
    • 4. Monsoon Meadow - Step 2 - Part 2

      21:56
    • 5. Monsoon Meadow - Step 3 - Part 1

      17:22
    • 6. Monsoon Meadow - Step 3 - Part 2

      17:16
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About This Class

Welcome to this oil painting class!

In this class, I'll introduce you to the M3 process of painting which I developed to teach painting to beginner and intermediate level artists. In this method, I breakdown and simplify the painting process into 3 simple steps, we use just 3 colors plus white and just 3 brushes to complete the painting.

Join this class to see how this method removes the complexity of the painting process and helps even beginner artists paint better paintings.

In the first step, I take a photo I clicked during the monsoon season and use it to compose a painting. 
The second step involves blocking in the big shapes and the final step involves painting the finer details to give finishing touches to the painting.

I'm sure that after watching this class, you'll feel confident to paint a painting yourself even if you have not held a paintbrush in your hand before.

See you inside the class!
Mandar

P.S. Though I have used oil colors for this painting, you can also use acrylic colors to paint this scene, The method of painting would remain exactly the same.

Meet Your Teacher

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Mandar Marathe

Fine Artist, Sculptor, Illustrator, Designer

Teacher

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!
Mandar

https://www.facebook.com/mandarmarathefineart/
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Transcripts

1. Introduction: Hi. Welcome to this painting project in which we will be painting a scene from a village called Injury Near Pony. It will have some nice blue sky, some clouds in it on a lot of monsoon grass, because I click the photograph when it was speak off Monsoon season July last year. To make this painting, we'll be following a three step process in which the first step will be about composition and drawing. The second thing or the second step will be about laying in the broad colors, and it's called the blocking in and the final stage in which will be adding the details toe give pop to the painting and we'll be finishing it. 2. Monsoon Meadow - Step 1: So let's get started with the first step in which will be looking at the reference photograph and take elements from that and compose a nice picture for our canvas. But this is the photograph which I had clicked in the village called Injured Body near Pony City on Dino, this area from last many years. Ondo Recently, it has become more often I t hub in that area. There are some areas which are still open. Meadows Andi lot off. This idea received a lot of rain on because of which this eight year turns quite bright green in the monsoon season, though you don't see this green color in this photograph because this is, ah, scream grab from a video which I recorded when I was traveling. So I'll be using this photograph to compose the picture, and I have chosen a canvas, which is hard on the likeness. It's one is toe 1.6 proportion, and that's the golden ratio, which I have chosen, and I'd be making use off the elements in this photograph toe. Compose the picture. When you look at any scene on DFI, like painting it, you should first determine what is the visual concept that you want to show. What is that one thing which you want people to see in your landscape? What's that mean? Idea? It could be some interesting shapes or some bright color or strong contrast, or the mood of the painting or anything like that. But it's the hero off that painting story. You have to be clear about what story you're pending is showing or telling, and that's the driving force with which you will paint this painting. Otherwise, if you don't use the visual concept, the main concept off this painting, you will paint it. But then it will be all over the place, and you wouldn't know what in this painting has to be. Given the importance, you have to make some element the hero off the pending or some concept, the hero off the Wendy. So in this photograph, though you don't see there is a lot of green grass around in this area, and then this place, or that this village Waas, a very rural area some years ago, and then there are some places still left like that. So even though you see one photograph here as I traveled to this landscape. I had clicked many photographs and recorded videos off the area. And so I know how the scene looks or how the area looks during monsoon through the spending . I want to show viewers bright green grass and clean atmosphere, which you get after a strong monsoon season and some clouds in the blue sky. So with that in mind, I can now use elements in this photograph and compose the picture. So this is the three which I want to make the hero or the biggest shape in this painting. And I want the horizon line somewhere here and I want to make use off that mountain. Also. I will not make it very big as compared to this three, because I want to show the distance. This mountain will be slightly darker than the land. So which is this part off the painting? The right. I will replace this star role with some murderer which will lead towards this focal area. And it's as if this part really leads to the a small village at the foothills off this mountain and balance this big shame. I'm going toe introduce one more shrub again. I want to avoid having pull shapes are off the same external design. So I want this three like this. But then I will make this shit up slightly taller, then broader. And then I need something here. Some three small one to suggest the distance. And since the sun is coming from this side, this area off the tree will be lighter. Even on this tree, this area will be lighter and this side of the tree will be dark. This idea will be dark and it will cost shadow like this. The street will cast a shadow like this and there'll be some small shrubs towards the base of the mountain. And this ruled will be slightly darker than the green grass here and here. So and there will be some stones are small rocks on this road. And then I want to show some clouds here and here to complete the picture. And you can see that I've not bean slave toe this photograph. I've used elements from this photograph, but then I have composed my own picture and that gives originality toe the artwork which you make. If you simply copy photographs, then it becomes you become slaves to the photograph, and then what you create becomes very plasticky or unnatural on. People can make out that you copied from a photograph, so always try to use. The best thing is to go out in open air and paint. But the next best thing is to click photographs and use them as a reference to compose your own scene. So now with this preparation, I'm ready toe transfer this going to the canvas and then start the next step, which is the blocking in stage off the blending process. 3. Monsoon Meadow - Step 2 - Part 1: Now that we have the composition done, we can start with the next step, which is the blocking in on De. So this is the first step is we did. And then we are at the step number two. And let me explain what kind off colors I'm using. I'm using oil colors, but you can use acrylic colors also if you want. Oh, paint this project. So I have a titanium white. Then I have cobalt blue, I have lemon yellow and then I have burnt sienna here. These are the only four colors or three colors and white which we're going to use for this painting. So and the brushes which we are going to use or which I'm going to use our this is, ah, number 11 brush. And this is a number eight brush and this is five number brush. I'll be using this only when I need to show some twigs and things like that and I'll be using oil linseed oil as the medium for painting. The first thing which I need to do now is toe transfer this drawing on this canvas and for that I'll be using this blue color on and some Lindsay loyal. And I can see that, uh, the rule is somewhere in here, and the big three will be similar here. And this will be the base of the monk. And and I want to give it a slight slope, this side and a smaller should. I will be somewhere here. Andi will cost the shadow like this. This will cost a Cheryl behind this and in the mountain. I want to show the mountain not very tall, because I want to show that it's and a long distance. I need only are rough drawing nothing super fancy on and will be some where it is here. One thing mature toe. Keep in mind is that if you have a lot of things in the foreground, then you should keep your background on the sky Idea. Simple. Because I want this street to be the hero off the painting on grass here. So this will be the focal area and they'll be some clothes here, white ones. And there'll be some cloud here, just about a month. The line. And that's a bowl. And and I have one more three here, which will cut through the line of the mountain. And that's enough off drawing, which I need, what a scene And they'll be some shrubs here and the base of the mountain, which they can indicate literal. So now, to start with the blocking in, I'll be starting with the darkest darks. And the darker start will be at the base off this tree on the shadow. So I'll be starting with blue on DSA, some brown toe make it dark and I want to test it. This should be okay, I guess. And as the first layer, at least see how I'm picking up the color. I'm scooping it up. I leave more colors. So let me to pay that on some Lindsay loyal, slight yellow and I can this this again and I think it's OK began on these. I had to it later. Andi. See, I'm painting with very broad strokes. I'm picking up the color like this, Andi. Even though I can use some color here, I won't use it because the shadow is on ground, which is having which will have a lot off bright green grass. So this color won't be good for showing that shadow styles not use it in that shadow and use some off this with a slight amount off right in it. For this we also on this is just an indication off that green. It's not a final shape. And I had some more weight here and some more blue. And use that for the shallow area history. Because as the distance increases, the darks become lighter and the contrast reduces. Wipe the brush and and one more That batch here. Andi, I think I should proceed with now the mountain. So the mountain is also at a distance. So I need to block in with the light blue green. So this makes itself I learned some yellow and some weight. Somebody blue on. Let me test how this looks. I think I need some more yellow some Lindsay doing. And let me Can you see the value difference between these two? There is not much of value difference, and that's a problem. So I need to light in this green and I'll make it slightly more bluish. No, like me. Justice? No. Still I need some weight in it. Yes, I can go with this. So now let me block in this shape. The moment in on this side on and some mountain shape on this a little. I will also air one or tow doors here. Just toe show some sky holes as their garbage did. Though they're not against the sky. This is the mountain we've just seen through the leaves off this tree. So I keep it at that. Now I need, uh, toe clean my brush ongoing it light green color for the grass. So I'll start with yellow and and slight amount off Blew it some 90 line on. Let me justice. This is too bright. So I need to earn some green of blue. Make it green. Onda should be OK as the first layer. I think I need toe go a bit more greener. And since I'm printing grass, I want toe have smaller strokes like this. Andi Osho Some radiation. I might are some darker panties off green and I also don't want this line between the mountain and end of the grass very defined. I wanted really blood. And as we go towards the edge or towards the corners are towards us, I'm going to darken this color. And that prevents the viewers attention from going away from these ideas so you can see how I'm roughly applying the strokes. And that's because I'm showing grass, which is really random. I'll make this even darker here now. I'm using upward strokes, Andi, using a lighter touch so that I don't remove the color which is already applied. I might even add some brown here to make the grass a little bit. Browner works the base off towards the base if it is actually the marcouiller or earth color. So I'm going toe that brown. And I'll also indicate the shadow on the street which will be like this something. And the shadow becomes 40 R as it goes away from the object and very defined when it is near the object and do the same for this side. Though I'm yet to I had the blue light green color and do that now here I want oh, use the brush like this which indicates that there is some grass in the foreground are I head off the street so that it overlaps the reshape. And now I want to darken the green. You should never have this line this kind of line going out exactly at the corner because that draws people's attention away from the painting. Some grown here, some lighter green. Now I'm making my breasts very horizontal so that it only that just the surface softly and doesn't lift the color which is already there. Now I need some light green for this idea. I will also need some shrubs towards the base of the mountain. So those will be dark in color will have maybe something like this. See how I'm using my same big brush and you know, switching toe smaller brush again. I don't want Oh, have them or arrange them at a great distance which might draw your attention. So this is just to separate the ground from the mountain. I might come in and just these a bit later, but for now, that's okay. And those all of those are looking All of these small ones small shrubs are looking at the same size which I want to avoid, and some coming in with the slightly bigger pure. This will also help the your attention from going out from this side needs slightly darker color and the base remember the lighters from decide so the dark will be on the opposite side off the grease. And I might have some color like this just as the relation in the surface. No, I can go in And, uh, and the sky. So for that I use another brush because I wanted to be clean. I'll also take some clean white color because I don't want it muddied with this green. So some right Andi Islay use it first outlined the edge off the clouds and then apply blue . So? So until I apply blue things, my not may not be clear to you, but just hold on on. Just apply this white here and then Now come in with an also need blue, which is clean. All right, let me guess this blue This is too bright. So it's somewhere blue in it. And in the sky also the skies always darker blue at the top. And as it comes towards the horizon, it becomes lighter and lighter. So let me start with this. I need more off this old with me prepared towards the corner and make it slightly more dark or more blue. You need to make the color again and make it slightly light loose or lighter blue now because I'm painting area near the horizon and there'll be some sky holds here on Leave it on that And then he was discovered toe in the rest of the media. You can see the difference between this blue and the blue, which I'm using now. I need to get this blue somewhere here more, but I do that in a moment. I need more off the late blue in oil, branding the reserve come rule, which says that if Corbyn lighter colors ticker and darker colors Tino because if you think dark colors take, then they kind of look lifeless and there is no area in the nature or in the landscape, which is sold our core lifeless. There is some reflected light somewhere, but you will see if you observe clearly are closely. And that's the reason you don't paint the darker ideas take and a wide looking on a word clearing their Lydia's. Now I want to make a Greek color, which will be applied here and here and somewhere in the so I need some white again, some more blue 4. Monsoon Meadow - Step 2 - Part 2: and no, But first let me apply some white gloves near the horizon again with lighter blue, or I should clean the brush. And then he was only white fueled. Wait. And some off this blue does get mixed with it. So I'm also creating the edge between the sky and the mountain. And I want that edge to be blood because I don't want it to come in front here. I don't mind keeping the edge very sharp, at least for now. With me reexamined later. And I'll make this area blue. I don't want the cloud, Toby, they're everywhere. Do something. Uh, INGE, we should always, often the edge towards the end because if you give them, keep the sharp there they didn't do attract attention. I need to go. And just this month, and you're I'll do that later in our detailing stage. So now I'm going to make a great color. So I'm not only washed this brush because I need this paying for making degree. So some thrown or burnt sienna and blue and that will make a blue gray which I'm going to be used for the beasts of the cloud. Let me justice It's too dark. Someone. We use this Wait and let me just again. This is again. All this is also dark. Some Lindsay Lloyd just to make make the pain flow on and see how this works here. I think this is good. Be some gray in these clowns on so But it will be less intense because off the distance on, I'm actually trying to see the painting from a distance. It will be darker here, degree and white the brush and use pure white. Who going off? There's a cloud here. There's a cloud here and there are I want to have a cloud here also, but I can do that later. Lift me and someone I'm using Very take color because I want to show bright white. And I think I'll stop fiddling with these brothers. These clowns for now, this area off the skies looking too dull or boring on empty. So let me try to add some interested on and some darker blue. So then yours attention doesn't go out from here. I should have used the bigger Brunt's or washed this press. Getting some create here. Well, that's okay. And now we'll apply the highlight color, or at least the mid value greens off the tree. And I don't the same green to be placed here because that we confuse order doesn't actually look like that. Some adding some brown. So the green on Let me test this color. Think good to go. I need some more open Andi. Well, I'm a blanket on this side off the tree because that's the side which is in like or it's receiving diets. And late on, since this is double the three, it will also receive some direct like where this side is in shadow, so it will not receive so much off light. See, I'm applying this color very lightly. No, let me do the same for this tree. In terms off value, this has to be darker than the there are only below. So I'm gonna go on some dark green here on these talks will make sure that it's seen as if this line is cutting and that would make sure the you can see that I made this part darker than the shadow area. That's because this is the area which will receive the least amount of light, and I will not go into the details off the street. I mean, some light here again. This light will be not so much different in the dark side because this trees are anyway at a distance and things like a danger for way on the right inside portion off the police. I'm a blind this brush strokes so that it's not picking up any color from the only earlier Onda that insures. Even if I picked that up, I'm gonna go wipe it. And in terms off blocking in, I think what remains is only the but order. - So I think I clean this brush and again coming with the burnt sienna on and some yellow I'm going to make a road color or color for the road toe. Be precise. The atmosphere is off monsoon and so the mud road will be slightly wet. And so I'm tryingto apply this color. And I wanted this part way to go like this on banish towards the piece of the mountain. Andi, I want to apply this color also very roughly. Usedto emphasize that roughness on the road. I'm not making any smooth brushstrokes. I think this area off this tree is too big and I'll have to cut it slightly on the left hand side so that it doesn't occupy so much space. I'm just picking up some color from and I might use our fish, a paper toe. Wipe some color. From here on, I want this person to be reclaimed by the grass, which and let me think again, I We'll have this much park occupied by green, so I'm making sure that all of this brown color burns and I picked up. It's You can see how I'm making changes to the composition when I'm not happy with it. So it's not that whenever you make some composition, it's the final thing. Since you are the artist, you have the authority to change anything in your painting. In this case, I am not. This time. I have the authority to make any changes that I think are necessary for good painting on, and I was planning to anyway make this areas lately lighter because it's going to be on. It is my focal area, so I might as well and those like green patches. This looks far better then we're all occupying this area. I need to slightly even more are some darks here. I'm looking at this painting with squinted eyes like this so that I get a feel off looking at the spending from a distance on. Now I'll find you in the road, Andi. It will be darker on the right hand side because the light is coming from here and this grass is going to cast some shadow here. So I'm going to make some part off this road dark and similarly, the color on the road will be lighter on the other side, which is decide. Andi, I think I'm nearing the end of the steptoe, which is, uh, the blocking in. So I have, uh, blocked in all the major shapes. And in the next step, we're going toe, find you in this painting or make necessary adjustments and had a final detains. Always, whenever you're painting something like this, you should paint the idiot words you slightly darker than on the area here that allows your viewers I do you the words that point of yours attention always moves from dark areas to light areas. And so I'm tryingto direct the viewers attention from this side though focal area which is this off the painting so that completes the block and stage off this spending, and I'll allow this painting. So sit for a while though its oil paint. It's not going to dry in that period, but it will give me some time toe, look at it from a distance and think about what changes it might need or where all I need to add the details and so on. And then I'll see you in sometime in the next video, wherein we'll do that third step off adding details to the spending. 5. Monsoon Meadow - Step 3 - Part 1: read the whole scene on Go on the defining each idea. So first, start with the sky. And for that I need to model though clouds properly on in some ideas. I need this great to be slightly darker. Pick up some blue and I have this gree already made. So use this on and use this dark gray At some places I'm wiping my brush in between. So then this lighter greed doesn't come on my brush. And then when I want to wear that dark, you can use it when I get the darkness. Which one? I'm being earning some small Greek loan here. And these clouds are off the cumulus type. Or I might be wrong in saying this nominee creature. But what I mean by that is these clouds scary some green though they're not the big ones. And now I will come back of it. If you are white, Andre, go! Actually, Klauer or the lit side of the flow. This cloud is actually overhead on. Hence we see the bottom portion off the cloud. Rather than seeing the seeing the cloud sideways. This great area needs some adjustment. One mistake which begin artists do is that they make many shapes off the same are many items on many elements having the same shape, which is a mistake. So you what I mean by that is your cloud should be having more idea of shapes. And they shouldn't have one single shape reputed. Ah, again and again because in nature there is a lot of variety, and it's not. So monitor nous making gree again and then having it very where I feel the grounding, some more bunch on some more contrast. These clowns will not have so much off grain them because they're after distance and we see them horizontally rather than from below. Andi. So I'll be adding some more white to them. I won't be adding any degree. - What I'm doing is going modeling the shape I want people who are the your to see the shape of the cloud in three dimensions. And now I'll come toe the trees. I think before I move onto trays, I need toe make sky darker a bit on the right inside corner. I didn't wash my brush properly. - In doing so, I've also reduced the size off this globe on do the same here also, I'm not after any smooth gradation. I want the brush strokes to be seen. That gives the painting a bit more. We're in Dudley effect. Now. I need some modeling on on, uh, mountain. So I'm taking some blue green color. From what I know remix and I'm dusting something. Whether this is a good share, no color, Andi, I think I need to slightly light in it. I use this and I'm also you show a wrench here. Just an indication off a bridge. And I also don't want this edge off shallow, very sharp. Just barely enough to go sure that there is shadow area on the mountain on light of you and also throw in some light green. But I wanted really soft. I don't want it to compete with this green. I had some yellow, the existing blue color and in great go, I live in patches somewhere I'll have to adjust this shrubs again Anyway, he needs some value contrast here between the mountain and, uh, grass and I'm using some blue color were the base of the mountain. I think I can go a bit more bluish in the Mongol here on that will air some distance. - Now I'll come toe the trees or shrubs in the full room or rather in the and the bottom off the mountain. They need some more contrast will be darker on this side and stop here. I'm trying to look at this painting from a distance just toe. See if I am not creating any uniforms shapes. So I'm trying to add just the value difference between the shrubs at the mountain base Onda Mountain itself. I'm adding some patches off dark color. Andi, I also need toe and just the grass there. You can see that among on this brushed do on it least indicate some like grass There. This is all fine tuning is to make sure that the painting looks complete on this is war and still in dressed on builds up some more realism. I'm not happy with this shrub because it kind off mortis with the shadow. So I'm goingto get rid off that. And for that what I do is I'll on a mountain color here. So night it merges with the mountain and all right, you heard some green batch here and then Now it's just the shallow part Andi. There's a shrub here onto so now I'm now I'm happy with it. Moralists. You might have seen that or experience that any building takes under many steps in constructing a building on duh. What makes the most amount of time is the details in it are the interior off the building. Where is the structure of the building gets already very fast, which was our blocking and composition. The details is war, eggs, the maximum amount of time. But I am now happy with this dis portion on this portion. Now I'll come to these two trees on For that I need dark blue again because I'm gonna go her then dark color. I heard some dark again. I'm kind off. It's not a problem, but I was wondering if this distance is Samos this but it's not. Otherwise, I would have had toe make some adjustments because that would have created some compositional problems. 6. Monsoon Meadow - Step 3 - Part 2: you can see that even these small flicks off color can be added with this big brush on what using Big Brother does is that it defense from you're getting too finicky, Andi, It keeps the mentally look off the painting and doesn't meet it. An illustration, not bad illustration is bad. But then if we want and impressionistic pending very friendly approach, then using big brushes is once necessary. So I think I'm happy also with the please how they don't up. And now what remains I need to do some adjustment. Discreet. And this needs more blue because it's in distance. But the contrast will be less in the street because off the distance from the were and that is there will be some indication off the shadow is casting. That doesn't quite look right. Yeah. Now let me again see this sprinting from a distance I need on. I learned some Pagis off dark color here. Yes, to indicate some nooks and crannies below this foliage and light color here, just indicating some branch which is broke ruling out in this direction and maybe leave for school, which is poking out. I think the three this plea need some highlights and some contrast also because it's kind of merging into the background from adding some darks port just enough for it to pop out. Just you know, I think that's enough. The shadow is giving me problem and I think that's you know. And then I also need toe and just the road. A big wash, my brush And I want this road. It's right now It's looking too bright are to read for me. I want toe slightly mellowed down so amusing some white and do the road color and let me see how this looks. I want to reduce its brightness while maintaining its redness. I want to change the direction of the rules. Likely I do this and this grass custom shadow. So instead, off road turning like this I want the road to go right This this looks better than what? Waas What It was earlier. Andi, I still need some contrast here School way and this role should lead into the distance. So I want me this big. More pronounced. Maybe I can use the smaller brush Do that. I think it's a good idea. The Brazil's off this brush are giving some pictures do the drawer and some places. I am one to indicate some rocks off some pebbles just Well, some what I d. Yesterday Indications I don't want toe modeler rock there. But then right now, what I see is a problem that there appeared in the boat are appearing very close to each other horizontally are there at the same level and I get rid off one of them. I just bring this grass over here and I think I'm nearing the completion. What? I still am not convinced or not very happy about is, uh is the darkness off this cloud. But I have to see how it looks after I remove the tape. Maybe it looks better, but then still or I'll do. Our final attempt is toe add some more darkness to the corner here, and that might give it the required bit of contrast. And as now when I look at the whole painting again, I I noticed some things which I want to adjust. First thing is, I want to darken the shadow there. I need some more blue right now. It's looking a big to light. I'm going to add some blue and a tinge off burnt Sienna and then make the shadow darker. - I think that's enough. I don't want o B first thing about things, and it's timeto remove the tape and let me see if I need to add some more yellow and some places to make the grass brighter. I don't think I'll do that at many places, but you can see how I'm using the square edge off this brush to create the picture off grass. And as the distance increases, I'm goingto use smaller strokes. And here I'm going to use longer ones. And I'm weight and some dark benches here, off grass, just school. Bring the viewers attention towards the focal point. I'm not allow it toe go out of the painting from this corner. You can see that without using any small brush. I'm ableto create these blades of grass, and that's what I like about these broad brushes the very first time you can. Being big shapes and being small. Lydia's also, depending on how you use them, that is, that's not rule about smaller brushes. I think I don't stop there, and I hope you have, like the journey from the photo which you see on the screen on the left inside toe This drawing which we composed based on that photograph and then this final painting. So what I I heard you now to do is between the same scene with the same composition once, and then use the same photograph on make another composition and paint that because just watching this tutorial will not give you the or will not mean any progress for you. But when you make a painting yourself, you will be able to actually gain the most from this project. So that's the complete painting. Andi. I hope you like it. Andi. See you in the next project where we paint yet another scene. Thank you.