Pastel Sunset With Gouache - Learn to Paint 4 Expressive Sunset Skies | Umashree Taparia | Skillshare

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Pastel Sunset With Gouache - Learn to Paint 4 Expressive Sunset Skies

teacher avatar Umashree Taparia, ART EDUCATOR

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

7 Lessons (1h 44m)
    • 1. Hello & Welcome Back

      1:59
    • 2. Materials Required

      1:53
    • 3. Class Project 1 - Into the Bushes

      22:39
    • 4. Class Project 2 - Onto the Roads

      26:02
    • 5. Class Project 3 - Into the Meadow

      26:18
    • 6. Class Project 4 - Street Lights

      24:08
    • 7. Thank You

      0:49
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42

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About This Class

Do you ever Look up at the Evening Sky and find the Colors of the Sky Speaking to You? Bursts of Gold on Lavender Melting into Saffron. It's the time of the day when the sky looks it has been spray painted by an Artist. I am forever that girl who gets pretty excited when I See the Sky in such Yummy Cotton Candy Colors.

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In this class we will be painting 4 Different Pastel Sunset Skies using Gouache. With every class Project we will be following different approach to blending the sky and adding the clouds. This class will help you understand Gouache in different Aspects. You will learn to create 4 Beautiful Landscape using the Same Color Combo but different Layout and outcome. 

Even if you are aa Beginner with Gouache you can easily Create these Pretty Sunsets and Begin your Creative Journey.

The one thing that makes Gouache the least expensive medium is the amount of supplies needed to get started, which consists of only the essentials: paints, paintbrushes, drawing paper, a palette, and water.

Through every painting I will keep guiding you through all the steps, Color shades alternative, Color Mixing and tips and tricks to work with Gouache. 

Here is the List of Materials that you would be needing:

  • Any Brand Paper- 200 GSM 
  • Any Gouache Set or Poster Colors
  • Round Brushes, Detailer Brush, Flat Brush
  • White Gouache or White Acrylics
  • Pencil and a Scale
  • White Gel Pen, Black Pen, White Permanent Marker 
  • 2 Jars of Clean Water
  • Tissues
  • Mixing Palette.
  • Masking Tape

I'm so excited to Paint these Pretty Sunsets and would love to see you Join me in this Journey. Thanks a lot for joining :)

Meet Your Teacher

Teacher Profile Image

Umashree Taparia

ART EDUCATOR

Teacher

Hey Lovely People,

 

I am Umashree Taparia, a Self Thought Artist, Art Educator and a Creator from India. I am a Chartered Accountant by Profession and an Artist By Heart. I have always been creative since Childhood but it was majorly crafts, card making. With all the Study and busy work Schedule I never had time to practice or think Art. But in 2020, when the Lockdown hit, I started with pencil sketching and gradually began to learn about Watercolors. It was then, that art became my daily Practice. 

In this one year I explored different Mediums and my favorite happens to be Gouache and Watercolor. Through all the trial and error I have learnt so much in detail about all the art supplies that are available. I believe that if I can do it then anyone can lea... See full profile

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Transcripts

1. Hello & Welcome Back: Do you ever look up at the evening sky and find the colors of the sky speaking to you. The lavender melting into saffron. It feels as if the sky has been spray painted by an artist. Hadi offense, I'm an artist and an art instructor based in India. You can find me on Instagram and Pinterest under the handle, creating from the heart. I have been working with gouache for almost a year now, and I absolutely love playing with this medium. Creating blends is so much fun. Bennett comes to quash. In this class, we are going to be painting in four different beasts and sunsets using the wash medium. I will guide you through all the materials that I will be using for this class. And I will tell you about the alternate depths that you can use. Then we will begin being four different based on skies using different color blending techniques, but using the same b is four to five colors for painting in the piston skies. For each of the class project, we are going to go ahead with a very different landscape layoffs or all the full class projects. This class is going to be more focused on painting. These be still skies using the colors, but learning different techniques to blend these guys and adding the clouds. We will be learning to add in the clouds and also the layering technique for adding in the details. So without any further ado, let's move into the next lesson and have a look into all the materials. And then beginning with the false class project, I hope to see you join me into this class. 2. Materials Required: So before picnic, let me guide you through the materials that I'm going to be using it. First is this set of quash kalos, which is by the brand hemi gosh, I'm using in hardly seven to eight colors from this palette. If you do not have quash colors, you can use in poster colors, or you can use in any temporal colors or any other brand squash beans you need not have the same goulash colors. I'm using in this spray bottle to keep my colors moist throughout. Next, coming to the sketch book I'm going to be using in this handmade sketch book by a log-linear artist in India. I'm going to be using disrupt green people sketch book pages of handmade Ross Greene Paypal. It has taken the edge loop. So I'm going to be having a clean edge using the masking tape. But at the end, I'm going to be having in the decal edge loop, giving it the perfect view to these pretty based on sunsets that we are going to be painting in next year. We'll be needing a color palette for mixing your colors. So I'm going to be using in this ceramic palette for mixing the colors for each of the class project. Next year we'll be needing a masking tape to tape down the edges of your paper. Next coming onto the brushes, I'm going to use some Princeton velvet touch flushes, that is the flat brush and some round brushes. And I'm going to be using in some stationary that many liner brushes. Apart from that, you would need a jar of clean water for each exercise. Somebody should be bought for some dabbing off the brushes. So these are all videos that you will be needing for this class. So grab them and I will see you guys in the first class project of this class. 3. Class Project 1 - Into the Bushes: So let's begin with the first class project into this class. So I'm first going to begin by dipping down might be. So I will just show you that beeping down for false class project. And then for the rest of the class projects, I even have my B put the belt on to D. Now since I'm using the handmade before or you know, it's very difficult to remove the masking into uniquely quit. Many gave me otherwise the edges may get blown off. Secondly, or you can see my people is thicker edge all so you know, I am just very roughly thinking in equals basic because after the moving in that edges may add little different alignments. Because if you look back, I'm having, it also seems maybe, but it's roughly when I begin to be in it will be a little difficult on me or, you know, it will be of the blending will deepen it in time for me because I'm using a rough green people. And for Bosch the best paper that is, is a smooth grain people. But, you know, bit that offering people the outcome looks quite different and beautiful. So I'm going to be using in dystrophin people, which I have the bone already. Now I'm going to be using these beads. So I will just quickly open mapping. Books do not include, not have all the sheets we are going to be using in very limited sheets from this color palette. It's hardly doing the V6 270 follows, which are all the basic fellows that will be available in any basic valid 5 is becoming difficult. The brushes that I'm going to be using, the brushes that I'm going to be using an omni-channel going to be round brushes this time, I'm just one fact, Russia. So the brushes that I'm going to use, these brushes. So this is now 322 brushes, one smallest size flat brush and non big size flat brush out your sign-in first begin by preparing the Padlet, what the battles that we are going to be using input this guy. So I will quickly begin picking up one color at a time and V8 the base to the villains for that by mixing in the white board. So the first command that I'm picking up as the violet fellow. Now in case if you do not have the violet palette, you can mix in your pink and then through dint of blue to get provided. Next color that I'm going to be using is the yellow follow. After this, I'm going to be using in the orange color. So I'm using the volume invalid from this set. And next is going to be the pink follow. So I just removed color first. Now I haven't removing the orange color. Now to each of these colors, I'm going to be adding in whitewash and I haven't mix all the colors and keep ready so that when I begin painting in this guy, I have all the colors in my palette and I do not have to read in-between. Now as I was telling you in the beginning, since I'm using in a Ruffin people, I'm going to make my beam a little extra weight. That is, I'm going to make it a little most Moodle so that the palace client more easily on disrupt green people with the US MOOC green beans may glide easily even if the other little button and using enough clean people, I prefer using the beans in a lithium liquidy consistency to make the flowing and the movement better. Now I'm preparing all the sheets of the colors that I have listed on my palate by mixing invite and little bit of water. But I'm making sure I'm on that so much water that they act like watercolor, so you need to be careful about that King has been so vital. Mixing the colors wherever you are, need to either add by other all the pigment and color, you can go ahead and adjust accordingly. The other goods we need all the others in obese value. Now I have make all those 3D. I am mixing very little fellows because falsely and painting on a very small space, it's taken me, you will not been eating much because we are going to be using invite in between from lending. The next funder that when preparing your is obese to dawn of new, I'm using in the city in blue color and mixing it with white and keeping a Jedi. And the five basic colors that we are going to be using, inpainting almost each of these guys. And then providing needed me, ME using green, black, and the browns. So let's begin with the first class project now. Now far being deemed, I'm going to just keep little off the white quash also, they don't even need to liquidy consistency for blending in-between the gallows to get the perfect and smooth blend and transitions. So keeping a JD message so that I can use it easily. Now before thickening to beat, I'm going. Innovating a good conductor black color for this piece to look along, to get them into grayish tint to this blue palo. I'm just very and I didn't keep the little blue also there separately for using on here. So now you can see I've got a piece to grayish, kind of a blue tint. Now using this Eigen begin from the top species. We do not have glide in a neonatal for dog. Now you can see when I'm beginning with being on do this enough green people, it's a little difficult to lead on the beans easily. So I may be using in-vitro model for no to spread the beams easily. But if you are using this MOOC dream, people do not add much a photo, otherwise you will not be able to achieve the opaque look. Now, I'm beneath that green. I'm adding in the Feast. I haven't said. Now under the blue, I'm going to use in the right column and theta1 little blend in between them so as to lead on the next color underneath this. Now you can see again and again, I'm dipping my brush into water so that I can easily spread the paint. But again, I will repeat if you are using in US MOOC Vin people who would not have to dip it again and again. Now you can have created a very nice no Gordon using in the Vitamix blender. Now the next color that I'm going to shift do is a pink color. Now you can see I'm using a round brush and going very slowly step-by-step. And you can see still the blending is happening very easily because I'm using the gouache colors and blending with washes easy as compared to what the gallows because since it's a dry medium and easily available and can be blended in easily. Now on both edges underneath the white wash, I added in the pink color very lightly. Now under the pink color, again, I'm going to be adding in the blue color and blend both of them very easily. Now when I play both of these, you may get a little puppet, then automatically the blue and the things blending it. So let that be it will create a national unnatural thing into European thing. But in case if you do not want the purple plane than between them again, you will have to zoos and white quash for blending just as we used at the about space. Now next, using in the weeks of the violet color and adding it just been no out your. Now again, you can see I'm blending each color step-by-step together. So when I added the open color, I made sure I blend it with the bandwidth, the blue and the pink color at the top space using either water or whitewash, depending on the kind of people that you are using it. Now under this open, I'm going to be using in the orange colors. So before that I'm adding in a little off the white floss because then the opening of the fopen will either get though, it may give you a little map. So to avoid the market opens and you'll get the perfect lending hand using in the next one right in between. That is how you need to understand the properties above the Bible, which follow up and mix together may give you money fallow. And so as to avoid that, you can use invite quash to blend the shadows and you don't get trade off those more equal to between. Now next under the orange, I'm going to be adding in the yellow column. You can see how step-by-step disguise getting formed. We are able to blend despite going slowly callow by fallow one color at a time. You don't have to rush. It's very easy to blend them, wash. So if you're previously or Palo has dried in, can simply pick up the previous layer by layer again and added there when Ben blending in audio can just using a damp brush for blending in-between the others. Now then DIA bottoms these I'm going to be filling in with the yellow Gallo and in-between, I'm going to give it a little audience sheets of the clouds has been. Now on the left side you are, I'm going to add in a little touch of the thing, forget and then anthropomorphism space, I'm going to fill it completely with the yellow color and we will be ready with this guy like this going step-by-step part of eye color and blending each other together with the previous SEO by adding in the next video. Now what would this guy I'm going to be adding in little cloud is. So for adding into Cloud the deal I'm going to be using in the orange color and blue color mix that we already have. So far, the orange color I'm going to be using in the audit fallow mixture emitter literally bite and it's going to be a little darker than what we already used it. So now I'm shifting my smallest size flat brush, I'm using this, I'm going to add in the clouds just using the tip of my brush. So first beginning in with the orange color, I'm just going to slide in little strokes from the edges to act. And as the plots. After this, we are going to be adding in the clouds with the blue column mixed in with a little tender flag to get that grayish thing. Now you can see better than me. I'm just using the tip of my brush, pulling up little strokes to add invaded and flowed through this piece of sky that we have added in. Now next, using the blue color, I will begin adding in little cloud effect. You're at the bottom side so you can see I'm just putting that little blue stroke. I'm not worried much about the blending of the strokes right now because automatically, after you begin adding in the details and blue, this is the lifecycle of hits that we are going to be adding in. All of it will look perfect. Now at the bottom left side, I'm just putting up little clouds diagonally. Now next we're adding in the clouds at the top side, I'm going to add in a little bit in dark black, blue. This blue mixed together darker so as to make those Cloud visible at the job site. So just to adding in a little bit of black, you can see how minimum black I added in. Make sure you keep adding the darker colors little by little so that you do not have any DACA end altogether. Now just going to be adding in very simple clouds, add the tops piece. I'm going to pull up this darker own buried underneath. You can see all of this am adding when those pieces are dry so automatically because may be points rough textured, I'm getting a little rough strokes, but because of those drops, drops the browser getting more of the realistic view. So just adding very middle cloud strokes from the top edges. And you can see I'm simply putting out this color, didn't that is off the black mixed in blue and white. So we have ID with us Pi, but now we need to begin adding in some Bush the beads into this big thing for compete this painting new. So for that I'm going to be using in my smallest size brush and I can quickly picking some black wash and using the black wash, did it live it out, out in in any white or any other follow? I didn't begin adding in Bush deviance at the bottom side. So they are going for me adding in the bush D1 at the bottom side and onto the right side. So make sure that this guy is completely dried before you begin to add this. So I'm going to be, and using the tip of my brush, I'm dabbing it very simply to get in the bush detail at the top species. And then as I move down what I'm just going to fit in this piece black did agree. But at the top, I'm just giving you the needed look through the bush. You can see just dabbing the paper off my brush, pulling up little grass or leaves strokes. So you can see I'm trying to lead either height and add the edge. Oh no, I pulled up little off the bush from the left end also. Now as I'm moving downwards, I'm going to decrease the height of this. So first I'm just giving you the detail at the top species and then I will just fill in the bottom speeds quickly with the black color. So now you'll see I'm just filling the rest of the board game space directly with the Apollo in-between the Wacom space. Also, if you have little up the gaps left in it will be fulfilled meal, it will add to the natural beauty of the most detail that go to adding in. But in these, if you're coveted, compete directly with black like this, although it may be perfect. Now you can see automatically add the doctor deviance that you added. Losing in the tip of your brush is giving such a nice day. Now if any of you have seen that the median is not visible, you can just pull out a little more of the bookkeeping. So basically just dabbing the tip of my brush to get into detail. Now I'm going to add it onto the right side. Similarly am going destroyed, popping towards the left side. So far the right title until I'm using the same process. You can see I'm using the tip of my brush. I'm just putting that simple leaf strokes very randomly close to each other. I'm trying to force to outline the shape that Why do so? You can see at the top it was brought up and as I'm moving down what I'm producing this piece of this bush DDD. And as I'm going to go further down what I've been folded in, please it again. So basically just time before, a little different cheap that is brought up at the top then on the 29th doesn't know. And again, by moving downwards, I'm increasing the breadth or not. This is just the edge that I'm adding enforced through this also, I will just add little more detail to it. And then I can fill the rest of the space with the black color moving inside. So at the edge you can see I've given them the medians of the leaves popping up. Now, the rest of the inside spaces, I'm going to be quickly filling in with the black color just in between. I mean, even into gaps in-between two that are behind. Visible. But again, if that gets covered up completely, it will be perfectly fine. For you can see now filling in the gaps is so faster and so much easier because you just have to fit it, compete with the black color. So for this, if you want, you can shift to a bigger size brush and fill all of this, complete it quickly by just be a little careful to not build them edges also like this with the black column. So in between you can see by filling the black color, I randomly left some species to let the sky B that's been giving more detailed look through the bush out there. But at the bottom species, I have also been a completely with the black color, just letting the need is b then on the edges. Now I've been just give little more detail at the urban space your, and then I'm just going to pull out some are more prominent leaf shape from these bushes that I've added in and then even be done with this class, project one into this class. So now I'm just pulling out very simple, nice strokes from this motion effect. So I'm using the tip of my brush, I'm pulling up this needs strokes and wherever I want a thicker edge, I'm just pressing the belly of my brush and then lifting it again. Now, I'm going to quickly pull up littlest the leaf strokes out you off on the right side AS bed. You can see I'm going in very slowly pulling in one leaf at a time so that I do not or do anything because we've got the perfect sky look and the bushes have also turned out perfectly. So make sure to going slowly, do not crash with adding in these needs the most step-by-step one leaf at a time so that you would not lose the look of these bushes. So just a few more leaves. I have to walk them speeds that I'm pulling up. And then we are almost ready with this class project. Now lastly, using my technical pen, I'm just going to add in a few white lines and do the skies. B is moving in between the bushes. Now in these, if you do not have a technique and then you can go ahead and use any black waterproof pen. You can add this using in the black wash and the fine liner brush. But since I have a band, I find it easier to add these fine details using an offense to agree. So baby Nandan v, I've added four to five of these lines moving across the bushes and connecting them from one end to the other. Now I'm going to quickly, I did a few boards into this guy and then we'll be done with this class project one for today. So you can see the fine boards that I'm adding in gas so fine and just using the default my so, you know, it's easier to get in these. Finally, it is using an, a technical bent. But in case if you're using a brush, be careful about adding these boards in very small size. So before removing the masking tape, I feel like just adding a little more of the bush. Do you didn't do it at the backend side. So I can quickly add in a little more of the bush dd, but I will not pull it completely till the right side. Just a little more extension to this only in a smaller height. So you can see just in people adopt a little more now at the top, I'm just giving it literally David oh, you know, with the needs that we were having previously, but this time in smaller sizes that I'm adding in your. And lastly now just going to add in a small moon using in the whitewash. So make sure you use the whitewashing, not thick consistency so that you get an opaque layer of the moon. So just going to be adding in a very small moon at the top left side. So that is it BID with the class project one, it's time to remove the masking tape and see the final painting with those predict mean edges. Now make sure when you remove the masking tape, your edges are completely dry. And now since I'm using a handmade draft when people, I need to be quite careful otherwise, I mean, ruined my edges and the people may get turned off. Always made sure to remove one masking be at the time for not trash with removing Asking thief and always remove your masking tape against the paper. So we end up with the first class project, a pretty based upside using in wash. I hope you guys enjoyed painting this piece of sky step-by-step NEO by Neil. Now with the flows view also, you can see that I'm no sharp edges in between this fight going nearby neo, in adding in the sky and the clouds. So I would see you guys in the next class project, which we go ahead with the next pieces tie and a different look to it to see you guys into the class project. 4. Class Project 2 - Onto the Roads: So now let's begin with the second class project. I have maybe, but they've done already just as I did in for the first class project. Now for the second class project, I'm going to be using the same colors that I used in for the first class project. So I will quickly just prepared a little of the MOOC, Carlos, because there is very little color on my palate. So make sure you have all the colors JD already onto your palate. So the same, Carlos add some violet color, orange color, yellow and the blue color. So I'm just adding in little by God to all the Carlos and then I will add the colors to them and forming the basal panelist. Again, I would you be if you do not have these exact same sheets for yellow, you can go ahead with any light yellow tone for odd, you can either go ahead with a woman named interview did not have an orange color, or you can just mix in a little tint of your red, yellow, and white color. For the pink color, you can go ahead with the crimson color. And if you do not have crimson, you can use in your scarlet color with a little extractant of the white color. And for the line and color, if you do not have, you can just mixing your blue and pink or blue and crimson color to get in a violet tone. Now I'm mixing all the basal gallows and keeping them ready before beginning into three. So we are going The heck with the same steps as before loading for the first class project. The only difference being this time we are going to create the sky in a little different manner than the first one. So first I'm going to begin with this base to the violet color. I'm going to begin in from the top side. So I'm going to use in a flat brush and a round brush simultaneously this time, and this time, I will show you the blending in a little different way. So I will keep the other round brush also ready into my site so that as soon as I need rash for blending, it's easier. Now after the violet color, I'm just going to add in a little white underneath this. Next after this I'm going to be using in the violet, oh sorry, the basal pink and the blue color. So for blending these now I'm going to use in that round brush so fast using the flat brush, I'm just laying down the Palo Verde randomly in-between. I'm leaving a little gap. You can see on the right side, then I'm going to be adding lizard blue color in-between. So now I even pick up my round brush also. And after adding the pink color, I haven't added the blue color and then blend both the pink and blue using my round brush. So on and left edge also, I'm just adding in a little bit of the pink color and keeping a Jedi. Now next I'm going to pick up the blue color and I'm going to add it in between both dumping sites that we added in and the medulla in the right space that we left in between the pink and the violet at the right side. Now, I'm going to use my round brush and just moving it in circular motion. I'm going to blend it with the colors around the blue color. Don't round brush in a dam consistency. That is, the brush was just dipped in a little bit of photo. Now again, you can see I'm using the round brush very gently and just blending it onto the edges between the pink and the blue column. So this is how in-between you can leave white spaces, add in the cloud colors directly and blend it using a damp brush. If you want, you can even use little of the white gouache for blending and giving little lighter effects in between. Now again, you are, you can see I'm using the round brush for blending in. Now in between the pink and the blue, you can see light tone of the property being formed because of the direct plane being off the pink and the blue. So that it's creating further detail into the sky space actually might indeed, if you do not want that purple color, you will have to use invite Guassian between for blending. Now next underneath the blue, I added little white because next color that I'm going to be using is the orange color. And then the orange and the blue bleed together, they may form all muddy. So I do not want die. I'm mixing a little bit of the yellow and the orange together to get a yellowish orange tone. And using this tone, I will add it into the bottom side. Now this yellowish orange color. And so I will add it in parts and keep blending it using the round brush because I'm going to leave little cloud space in-between an add another color in-between. So now you're on the right side also you will see I'm just going to add little patches of the yellowish orange tone, leaving gaps in between. Now in between these gaps, I'm going to add in the piece to the blue color and add little more cloud detail so you can see how leaving invite gaps you can add in the color and then blend in using by cosh. Damn brush, just as I have been doing using the round brush in here, do not want to leave these gaps. You can even add them by a yellow layer of it for it to dry completely. Then with a very light hand adding the blue clouds on top of it. But I wanted to go ahead with a little different technique here. Now with the blue clouds, I'm adding in a little bit of the violet dye jazz band. Right now, if you see all of these are looking just as patches of the Palo. But when we even begin blending this, it will automatically begin to get into the sky shape. Now this time, you can see I'm using a little bit of whitewash and may brush for blending all of these colors. The blue and the yellowish orange will mix together. It will begin to form in little muddy colors because of the palate properties of the orange and blue, which I do not want. Hence, I'm using invite Guassian between and blending each of the Palo step-by-step. Now you can see slowly the patches are being disappeared because of the blending that we are doing it using the whitewash. Same way, I'm going to blend in the clouds onto the right path also unclear, the perfect blend in-between the sky. If you are using or soft gain people, it may not take you much time for blending, but since I'm using in a rough, clean paper, it may take me a little extra time on a little extra white gouache for blending. But you can see the result on the dark green people also, the texture of the paper makes the sky look more realistic. So it's a little tough for blending, but also it's what it. So now I'm done adding in the sky. This, we are going to be adding in some clouds. So this time for the clouds, I'm going to create a greenish tint of the violet color. So I'm going to mix in violet, blue and the little black thing just as we did for the blue color in the previous exercise. This time going in with a violet color, That's the violet, white and the black color. The black color has to be just a very little tint of it. So make sure you do not add excess black. Now using this, I'm slowly going to begin adding in clouds and make sure you do not have excess B. So I'm using a smaller size brush and just using the tip of my brush, I'm going to begin dropping in Panes. Now, better way you'll feel that there is excess paint on the brush. Make sure to dab it onto a tissue and then begin adding it. So you can see very random cloud shapes that I'm forming in. And on the edges of this cloud, I'm letting me in the dry brush stroke so that it gives an actual look to the crowd. So that is the reason I would recommend you to dab off the excess paint onto our tissue so that you can also get the dry brush onto the edges of the cloud. Now, similarly, adding little clouds with the same color at the bottom side here. Now I will just mix a little of the same color again, but this time I'm going to keep the thinned a little darker. That is, I'm gonna make it one shade darker than the violet CloudStack we already added in. And for that I'm going to add a little extra blank distance than the previous time. Now, underneath these light-dark logs that we added at the bottom side and the bead that I'm just going to add in some darker clouds. So automatically you can see the cloud being formed. At the bottom species we are going to show a road. We see that there's a cityscape kind of see. So do not worry about how the clouds are looking at the bottom space because half of them will get covered up and we begin adding in the road details at the bottom space. Now just at the right side, adding in little more cloud detail randomly. Now in geese, if you wanted to blend the clouds with the sky, you can just use a damp brush under the layer of the Cloud and blended into the sky like this. So you can see how easily you can even blend this guy with quash blending is very easy. Either using invite guage, order damp brush, you can simply blend it with the previous neocolonial of this guy and simply getting the look now just starting last final cloudy days before moving ahead and do this spin day. So just added a little after Cloud detail at the top right side. And I'm just going to blend a little into the sky, very little. I even let the edges also be visible at places. Now next, let's begin adding in. And it is at the bottom space. So at the bottom space we are going to be having in a broad way and along the road we're going to be having in the bush di did for adding in all of that we are going to be using in the black color first, so I can quickly pick up some fresh black wash onto my palate. Now first using the black quash, I will quickly mark out the roadway. So the node v is going to be much more broader at the bottom space. And as we move at the top space, it's going to be NADH or so you can see a very small Broadway that I've added in. Now, left and the right side of this, I'm going to add a little bush they did. Now make sure your bushes are not too high because we do not want to cover the entire clouds that we have added it. So they need to be quite smaller. And out throughout the Part B, you need to make sure that you read the heights of these bushes as well. So you can see just using the tip of my brush, I'm adding in the bush D1. Now as I'm moving towards the edge, I have increased the height of the bush. In this endless bees keep it to very small. And as you move towards the edge, you can increase the height if you need like this. Now, again, you can see I have tried and make sure that I do not cover them die of islet clouds that I added in because I want those clouds to be visible from behind these bushes. Now just like the first exercise at the top by giving the bush detail and at the bottom I've simply fill it in with black, leaving little gaps in between very randomly. Now in the C V, I'm going to add in the bush they did onto the left side as well. In the center of the left side, I'm going to make sure it's smaller in height so that I do not cover those by clouds. And as I move towards the end, is that the edge you can see I'm adding it in a little longer height. Now you're also, you can see it's in the same be at the top. I added in the DDI look and at the bottom species I'm simply filling it with the black color. Now you can see how pretty those violet clouds are looking from behind the bush. So you know, it's like a view that because the clouds are hidden behind the bushes are little analytical is visible to our view. We are still left to add in and paint the main pathway and much more detail into this pain pain yet. So since we have painted a base to the sky, I want the bot to be also to reflect the color of the sky a little. So I'm going to mix in the same violet to white and the black color, but this time it's more off the black color you can see. So I'm trying to get an upgrade by lifting to add it onto the pathway. So in that way, it will reflect the Greek, oh sorry, the violet color of the sky on the pathway as well. So just the admin violet light and the black color. But this time much more Docker. Think of the black color itself getting in a grayish while it. Now using this gray shoe, I left and I haven't painted onto the entire pathway forced. And then I have an add-in for the BBS ones, this will dry in. So very simply I added in distinct. Now at the bottom space of the pathway, I'm going to add in black color. I'm going to blend it with this and get a darker at the bottom space only. So I took up near to the sky. You have the light at the end of the palate that we mixed it and at the bottom speeds adding in black, giving it more darker as it is moving closer to us. Now next I will pick up little more of the black wash and begin adding in for diabetes driving fast mock out the end of about three that we added in. So just after the end of it, I'm going to add in the bush D1 as well in the US and thus base. But make sure that this bush detail is smaller than height so that you do not cover the entire Cloud that you have behind this. Now, in this spot we drying, let's add in for those small details into this pain day. And then we will add the details into the pathway and meet anybody topping day. So I've shifted to a smaller size brush. And from the left side I'm going to pop out a street light coming in. So that means tan of this cheek night is not enough view. It's just a main street light that is in our view. So adding a small horizontal line first, I'm going to mark that street lamp. Now do this. We are going to be adding in the light effect directly use again a mix of the white and the yellow wash. So I'm not going to mark the major outline of the lamp lookout your directly going to pop up the light effect. The light off the street light, I'm going to use a medium sized round brush. I have some yellow and white quash mixed and you're already on my palette. So I'm just going to reactivate that using in water you can see a pistol yellowish color and I'm just going to form a small circle out your, I'm going to blend into the background. So basically, this is just going to be the first layer of the light that we are going to add in, creating the glow effect for us. And once this glow effect will dry, we will add the father like detail. So using a damp brush, I'm just spreading this yellow white color across and blending it into the sky. Then, then we will add the light detail on this. It will create a glowing effect in the background. Now across the pathway, I'm simply going to be adding in very small details. So some very random or sheet-like details. Enzyme DDL binary kind of look elevated anemia across the pathway in between the bushes. So on the left side just added a very simple stand for the street light. Again, not adding in much detail out here. On the right side, I'm going to simply be adding in a very simple boundary kind of look, popping out from between these bushes. Make sure you use a smaller size brush for adding in these details. Now you will add this bomb G. I'm not going to add in much of the BDD. It's going to be quite a simple, just a bomb J loop basically. So you can see a simple pump, just very simple the days and I'm just pulling out very simple black strokes, not abiding much about the exact leaf shape to be looking because it's quite a small painting and very small details. So they may not be much in detail, but just need to get the shape right. Now at how this I'm going to add in another smaller pump, which will be half hidden behind the bigger palm tree that we already added it. So just adding in another smaller one, you're at the right side as well. You can see slowly by adding in 1D dean at the time, the painting is beginning to take in shape and slowly we are getting in such a detailed look. Now my pathway is completely dried and I will begin adding in the details into the pathway. So first I'm going to begin the same violet grayish tone that I have formed on my palette. And I'm going to add little building details using this color in between the bushes. So just very simply using this color, adding in blocks to act as the building. So just added one more. You're at the right side. Now you can see simply and using very simple details, that bending is beginning to get in so much more of the detail. Look, we're not going to be adding in the details to this building by just simply blocks adding in the detail creates so much didn't look into the painting and gets the painting into more likely view. Pathway is completely dried and I'm going to add in little detail on the pathway as well. So under part B, I'm going to show the glowing effect of flight of two of the cost. They are not going to be adding in our didn't look to the car. We're just going to show into headlights of the path showing the light effect on the pathway. So first using invite gosh, I'm just going to add small dots. I'm just going to blended into the background. So I'm going to be adding two sets of these white dots closer to each other, one on the left side of the pathway, one on the right side. You can see very small dot-dot-dot. I didn't I'm using the damp brush, I'm just blending it into the background. So basically this is going to act as the glowing the day. Do this, we will add the headlight light effect and then give very small car detail and given detail into this as well. Now there was glowing effect dry using invite quash, either just add details onto the pathway, onto the edges. So I'm using a smaller sized round brush and the white quash and noted consistency and just adding in the details onto the edges, make sure you use the smallest size brush for adding in these details. Otherwise you may run out of proportion. Since it's quite a small painting. In the center, I'll register adding in very little detail randomly. Now let's add the light effect everywhere. So I'm using in this yellow and white quash mix that I have your on my palette, I'm going to use this Antarctic consistency. First Eigen added to the center of the street, like adding in the light effect. Now around that you can see the glowing light effect that you have using this same yellow color. I'm going to add the headlight effect for the node at which we already created. So just in the center of that glowing effect, adding this yellow, white mix. Now ready carefully, just using the tip of my brush, I'm going to blend this yellow color as well to create more light effect on the part we around trying to show the headlight effect, you know, spread across because of the light effect. Now using the black color, I will just add very simple. The division between the shoulder, RDD, just in between the headlights, adding in the black color and add the top creating a little block to show the bumper of the car. So you can see I'm holding the brush quite closely your so that I'm able to add these minute the best. Now as soon as we added the black color, you can see how the detail of the headlight is popping out and creating that glow effect on the road. Now lastly, using the white color, I will just add little more detail on Moody's blocks that we added. In case if you want, you can skip this step if you do not wish to add little details out. Yeah, I'm just adding in very simple the base. Now using my technical pen, I will just start very simple lines and between the bushes to give more detail to this cityscape that we have added around the pathway. So just using my fine liner pen, very simple and small lines in between these bushes. Make sure if you're adding it with the black color, you use a very fine liner brush because you need to add these details with a very fine detail brush. Now just adding a few lines moving into this space as well using the same black pen. Now onto this just going to simply I didn't middle of the board details of your them sitting on to these violence that we added it. And a few of them into the sky species. You can see little by little, just very small is arginine so much more depth into the painting. I even I didn't little of the streak plate look through that, a little poll that we added across the road side. So now let's remove the masking tape. Before that, let me show you a closer view. You can see the light effect of the headline that is there because of the glowing effect that we added in. So make sure you blend the edges into the background and then add in the center light effect. So automatically, you will get the glowing effect to the headlight. Now be careful by removing the masking tape so that you do not get off the edges. So you can see this is a handmade paper. A little edge is drawn out. Your eye will quickly corrected using in our little tint off the violet color again. So you need to be careful like this because especially with a handmade paper, it's very difficult to using masking tape. You got to go and very carefully. So that is yet I'll give it the second class project and look how beautiful this entire spread looks together. The perfect based on Skype with the perfect city was around. I hope you guys enjoyed painting. This was spread. I will see you guys into the third and the fourth class project of this class. So let's begin our class project in the next lesson. 5. Class Project 3 - Into the Meadow: So let's begin with the second spread of this class. We are going to begin with the first fan-out. You're on the left side. I have my B, what they've done. And I will begin picking up the colors one-by-one. It's going to be the same colors that we used for the first two exercises. So all for class projects are with the same color combinations, but different techniques of blending and different layouts of the sky. So I'm going to quickly prepared all the panelists again just as the previous two exercises. That's the big orange to yellow low and the violet color. In this class, I have focused more on creating. This guy is using the same color combinations, but indifferently out using different all celebrate options are different dealing options. So in the first class project we had simply just the eyelid and symbol which they then using the black color for the next class project we added little more detail creating in the pathway, adding in detail around the pathway. For the top class project, we are going to be adding in little flawed and field across a mountain range. So with every class project we are adding in little more detail, creating different layouts for the same basic skies for this guy. Also in the first class project we used in somebody dealing. We did not add much of the cloud detailing there. For the second class project we began using in a round brush and create different blend into the sky layer by layer and kept blending the clouds directly by adding in the forest Leo. The third class project is again going to build very simple blend of the sky, the state. Or you don't very simple blend without using in much of the different shapes. It's going to be just Leo buy beer of the fallows blending each of them one by one. So I'm going to quickly prepared in all the four colors first and then begin adding in the details. This time to the blue and even adding in a little thin Dr. pollution blue color to get a little darker tint of the blue this time. So now I have to follow the L2 or I will blend them when I begin to add them on to the sky, I have just kept them reading with the white color and the water droplets. So first big thing in with the blue color at the top space, you can see it hasn't. It would be still attached to it, but in the darker blue tint. Now first going to add in this blue color at the top space. Now next to the blue color, I'm going to be adding in the base still violet colors I'm using in the mix of the violet and the white color. Now next underneath the violet color, I'm going to be adding in the pink color. This time. You can see I'm not using invite guage, Rotterdam brush in-between for blending. I'm simply adding in the pains one by one underneath each other and blending them together while adding in. Now, you can also see I'm adding in the pins and little diagonally this time. Now underneath the pink again, I just added in a little violet highlight again, very small one as compared to the previous layer that I added it. Now under the violet, I'm adding in a little bit of violet because I'm using the yellowish orange tone. And I do not want a muddy color because of the blending of the violet and the yellowish orange color. So just used in a little bit of white out there. Now you can see by mistake Lee, I ran on to the next page, but do not writing when I will begin painting in that one. I haven't covered that up since gouache is an opaque medium, it's easier to even cover up the mistakes and correct your mistakes. So then I'm done blending and creating the symbol sky. You can see this time we just created a simple adding in the color one-by-one underneath each other. Now did my background sky is drying in. Ivan quickly pick up some black color from my box and keep it ready on my palette for adding the mountain range. So we're first going to be adding in a very simple mountain range at the bottom space. And then once the mountain range will dry, we will add in the grass details and the floor and feel the then at the bottom space over onto the mountain. Now you may be running that how onto the black color we will be adding in the light color details. But let me tell you, since we are using in Gosh, it's very easy to even add the lighter colors on top of the darker colors and even still be visible and have an opaque consistency. So I'm forming a very rough mountain range. So on the left and the right edge, I'm going to be having in the bounded range dollar and in the sender's base, I'm going to be having in shorter in height. Now I'm going to fill the entire mountain range quickly with the black color it says. So you can see how simply I'm able to fill in completely with a black color. And then once the spill dry completely, we will add the details into this floral field and create the perfect pistol field lookout you. So I'm done adding in the mountain reach. Now we need to wait for this to dry completely before I begin the further details. Otherwise we will not get the opaque look. So let's be it for all of this to dry completely then paint ahead photo. So now my mountain range is completely dried and I will begin flower details into this field. So for adding the flowers I'm going to be using in this pink color, but in a darker without adding in much of white. So I'm going to use this darker tint to begin adding in the flowers. I'm going to begin adding in very simple flowers. Just going to add a simple five petaled flower store. Now some of the flowers I'm going to be adding in India like, you know, top view and some in the down view. So fast going to add very simple flowers. Now in-between this out here, I'm going to add little pattern with a violet color. So you can see just across the pink petals. Using the tip of my brush, I just started pendants with the violet color C v. I'm going to add in very small flowers across the entire mountain range. Some of the flowers we are even going to be adding them onto the mountain range. Before moving ahead, let me quickly show it to you onto our graph sheet, how I'm adding in these flowers so that you'll get a better view about adding in the flowers. So you are just using the tip of my brush. I'm adding simple pattern shapes closer to each other forming in the flower shape. Now in-between the pink feathers, I'm using a little of the violet color and adding one or two petals using the violet follow to give the flower a little detailed look. Now in the same way, you can add a few flowers tilted towards the left side or the right size. All some of the papers moving downwards in the same V and add little islands with the violet color like this. Now in case C, If you're not able to add in the violet highlights, what you can do is you can be for your petals to dry completely. And then on top of the pink petals, you can simply add in little violet highlights if you are not even to add the violet petals separately. So now using these different flower shapes, I'm going to quickly begin adding in a lot of flowers across this entire space somewhere. I'm just going to be adding in very small round or legal showing as the bonds of the flowers just about to bloom. So now I'm adding in the pink flowers out quickly. Now you can see that every flower, I'm trying to vary the shape. So this flower I added completely with a complete circle view. Now next I'm picking up the violet color and go into either few flowers with the violet color directly. So you can see I just added a little violet highlight onto the pink flower first. And now adding in flower with the violet color directly. Little small, small flowers. Make sure you use the tip of your brush. You can see they are very simple flowers just trying to maintain a round shape and add the edges of the petals, giving it a little reflow so as to get it a flower look. Now seeing v, I'm going to add some heart-shaped flowers quickly across this. And at the bottom space I'm going to be majorly adding in small detail triangle showing small buds off fish. The flowers are just about to be blooming in. Now you can see when I'm adding in the flowers onto the mountain range, that is the black color. Still, the flowers are popping out beautifully and I can see them clearly with delta lactone that I'm adding in. So that is the beauty of quash that you can add the lighter colors also undo that dark colors and still even be visible and have an opaque look just like we are having right now with these flowers. Now at the bottom space, I'm simply adding in small buds, as I told you now at the top, just going to add a few flowers from behind, the biggest ones that, that added in. Now you can add these flowers very differently in your class project. You know, you can go ahead with different placement of the flowers and different angle of the flowers. They need not be just like mine. You can see I'm adding them very randomly. I first added a small patch of flowers. Now wherever I feel the need to, I'm adding in the photo flowers. So this is how you need to go step-by-step. Now I'm picking up a medium green tone and using this, I will begin adding in the grass details, understand the dance to these flowers. So since the green was a little light, I just added very little black. Now using this detailer brush, this is a science Ido pointed brush. Using this, I will begin adding in the grass detail. Now, layering in guage, make sure you use the pallor intake consistency so that you get an opaque look. If you will add a lot of water, you may not be able to achieve the opaque look often lighter tones on the darker tones. So say for now, then I need though big look off the green color on the black color. I need to make sure that I pick up the green color in a thick consistency by adding it on the black color, only, then I will get an opaque look of it. Otherwise, I will not be able to achieve an opaque look. Now using the green color and a pointed tip brush very gently and beginning to pull out some bigger classrooms and giving some leaf details to these are details that I'm pulling out. Grass details you can see I'm pulling up very simple details of the flower buds, which the flowers have not yet bloomed out from there. So, okay, so I just slipped off my brush. I will correct those green details that have fallen by. So I will quickly, you know, be adding in the grass details are there and cover up the green patches that have, you know, because of thought. Brush just slipped down from my hand. So I got those green patches. So you've got to be a little careful with this as bare metal since we're using wash, You can see how easily I will be able to cover these up and they no longer be as a mistake. I will cover them up and, you know, fill in this space with the grass strokes that I was going do. So now that pleases, you can see I'm pointing out smaller grass strokes from the bigger ones. And then at the top, just giving it admittedly did for the flowers to bloom in, out from there. Now in between, I'm going to use in a darker green, green tone. So I'm mixing in a lot of black, but very much loved the green. I'm going to give little more detail out to you. So I'm Doppler effect. I just added in another layer of the gastroc. Now add the rest of the places I'm going to quickly I then a lot of the grass strokes and do each of the flower, I'm going to pull out the stem separately. When you are adding these grass details, the only thing you have to be careful about that fast, you use the smallest size brush so that you'll get these tunnels strokes, which will give a lot more detailed look to your paintings. Second, make sure you add one stroke at a time. Do not rush with adding in these strokes. For each of the flowers, make sure to add in a separate stem they did. And then from those, if you want, you can keep popping out for the stem details of further leaf detail from these stems. So you can see it pleases, when I add in the stems of the flowers, I'm even bother pulling out little leaves from those. I will still be adding in a lot of leaf the data to this. Now you can see repainted simple sky this time. But for the meadow details we are going in better detail view. Now going to pull up some tickets. Strokes often leaves the data at the bottom space. Now on the right side you are, I'm going to pull out some big aircraft strokes from beyond the mountain range. I'm going to keep adding in for those smaller strokes to these big Olga strokes that I'm pulling out. So you can see I'm connecting a few of them to the flowers that are already there. And then at the top of that, I'm just giving it a little town details as well. Now just pulling out a little more of the grass details vary randomly wherever I feel that there is extra gap and I need little off the grass details. Now see, after painting you realize you need to add in a little more of the flowers. Then you can simply are then more of the flowers onto these grass strokes as well. Because again, onto these grass strokes also the flowers will stand out to be the only you need to take care of. Your grass strokes should be perfectly dry before you begin to add in the flowers on top of them. Now next, using a darker green tint, I'm just adding the center to each of the flowers. It's more towards the black side that I'm using in now to the flowers that at or towards the left side or the right side or half in shape. I'm adding them just at the bottom space, adding little detail into these. Make sure you use the pointed tip of the brush for adding in these details. Otherwise you may run out of shape for the flowers. So in case if your brush does not have appointed, make sure to shift to a detailer brush for adding in these details one by one. Now you can see with every medium that you are adding in, the field is looking into much more detail and is beginning to come to life. Now at the bottom space, I feel the need to add in a little more of the flowers because I feel that spaces and the dilemma. So I'm going to pick up the pink color and noted consistency. I'm going to begin in very small flowers. So I'm going to show that these flowers are at a distance from us. So just very small Vds of visible. So very simply just using the tip of my brush, I'm going to add in small details at the bottom space. Now you can see when they're all overlapping, the green ones also, it is perfectly still standing out obeyed because the green grasses have dried completely. And after that I'm adding in these flowers. Now I'm just mixing in a lot of fight to the pink color. And I'm going to add a few of the light colored flowers medially at the Docker species at the bottom area. So automatically you will get a little more color variation to the flowers in your field. I couldn't have these lighter tone flowers at the top space of this guy, because this guy is often lighter tone and these flowers are also often lighter tone. So then these flowers wouldn't be visible. Like your, I will show you, you can see I'm adding in this flower, it is hardly visible because the sky is also almost of the same fallow. Now just going to add a little more of the field detail also. And then we will be almost done with this painting as well, even just left with one more class project. So you can see it's heavily every class project we have gone ahead with a very different approach, added in different details and the different beautiful landscape paintings, but using the same color combinations. Now slowly, just well enough. Little more of the class details wherever I feel the need to. Your LEA may be completely different than mine because of the placement of the flowers and the leaves. So accordingly, if you feel the medial can keep adding in a little more of the detail look. Now you can see using the Docker, wherein I have more of the black color and less of the green color. I'm pulling out little leaf strokes like this, giving more detail to this field space. Now lastly, at the bottom space, I'm adding in more of the leaf D1 using the light green paint and filling more of this piece and letting only little black space be visible. Now one last thing, I'm going to be adding in a moon at the top space. I'm going to add a half moon. So I'm going to be using in this circle out here, I'm going to use the smallest isochore. And using white gouache and the brush technique, I will knock out half shape of the moon. Half shape of the moon at the top side. So trying to showing the half moon towards the top side this time, you can wait for my mom to be completed and completely and then please The Mona accordingly. I'm just adding in white gouache for now. And then I will add a little highlight to this MOOC with the yellow and orange color. For now, just adding in an opaque layer of white forming in a half-moon shape. So you can see the half-moon now, but I will just add little pink highlight though this on the edges. So I'm using this violet pink mix. I'm just going to add little darker highlights on the edges of the moon and define it more. So very carefully. You can see using just the tip of the brush on the edges. I added the pink color. Now in the center of the moon, I'm going to add a yellow highlight using the yellow column, which is already on my palette. So make sure you use the smallest size brush for adding in these details and defining the moon step-by-step. Otherwise you may run out of proportion. And then it will be very difficult to correct the shape of the moon. Now using the yellow and the white mix, I'm going to add gluttony relating to the moon in the center space. So that is it we are ready with the third class project. Let's remove the masking B and C, The final painting. Make sure that your edges are completely dry it, and in case if you are also using a handmade paper, they move your masking tape very carefully and very slowly. You can see a decal edge before gives another beautiful glow to the painting because of the decade edge loop, I love using index colored sheet for such dedicated works. So the final thing that we did in Photoshop class project, just one last step to remove it. So let me give you a closer view of this middle. So you are, is the third painting with the piston sky, but with a meadow in the landscape view. I hope you guys enjoyed this third class project. I will see you guys and do the last class project completing in the cities of the basis case. 6. Class Project 4 - Street Lights: So let's begin with the last class project into this CVs. For this guy, I'm going to be using in the same colors that we have been using it for the previous three class projects. That's the mix of violet, pink, blue, orange, and yellow Kano. This time we are going to be painting in as chief view with a lot of street lights out, low string lights actually and giving a little funky and family DPS. So the panels that I'm going to use it first, I'm beginning with the violet color at the top species. This time I'm going to go ahead with the blending a little like the second class project that's using the round brush in between for blending and adding in the sky in patches. Now next I'm adding in the mix of blue palette that I used in the previous exercise, which I already have on my palate. So it wasn't mix of pollution, low light wheel and white color. Now do this. I'm going to begin using the round brush in a dam consistency. I'm going to blend the edges of this. Now one by one, I will begin adding in little Carlos below it and keep them blending into each other, nosing in the damp brush. So next below this blue and violet color, I'm adding a layer of pink color. Now this pink layer, I have simply blended in using in the flag dash itself. Now shifting to my round brush, I will begin having the loop again. So do not know either side it a little more of the white palette which I already had on my palette. And I'm directly adding it underneath the fill color. Now when the blue and the pink layer blend together, it may give you a little, since we are not losing inviting between publicly on the edges, I'm giving him dapper blue thin as well. Now before moving ahead using the round brush and the blue color, I will begin adding in the Cloud BB's at the top space your as well. So I'm using this blue palo, which is does the blue mix that I have been using since the last exercise? So just using the tip of my round brush, I'm simply adding in little color and blending into the background. Now I will begin painting the for this guy. So I'm using a whitewash forced underneath the blue colony or that I have added it, and then I will shift into the next color. Now I'm mixing a little bit of the audience, yellow and the white color. And below this white color layer, I'm going to be using in this mix of the orangeish color mode. Now you can see because you have the white colony or you're not getting enough money. Otherwise because of the blue and the orange closer to each other, you may begin to have gotten the money Boone's now on. I'm just blending it with a little bit of the blue color as well. Now again, at the bottom speeds below this orange color, I'm going to be adding a little more of the blue cloud space. So you can see we are trying to building or different sky hellos that we have been using since the past three class projects. So again, just using a damp brush for blending in the palace in-between, I'm spreading the palette even. Now again, I would specify since I'm using it and asking people, I'm using a little more of the water so as to get the blends easily. Now, this darker blue, I will add in the clouds to this fossil species that we added it and then move ahead folder. So you can see I'm just using the tip of my brush and adding in simple strokes to act as the clouds in the sky, you need to use an add these brush strokes very gently. If you will add in a lot of pressure, you will get more of the muddy tones instead of the cloud shape. So to get that from an envelope, you need to make sure you use your brush very gently and not add a lot of pressure. Now in the rest of the atom size piece, I'm simply going to use this yellow and white color mix. I'm going for being a complete sky with this color. So I haven't even either listed off the orange highlight as venule in-between. To get a little more drama to the sky out. You can see how easily the philosopher blending. Now because of that off green again, I'm using in a little more of the word dog, but again, I would do my nephew, if you are using it as smooth gain people, you will not be needing it. For both, if you will use a lot of photo, it will be very difficult for you to get the A-B-C Look of the philos just as mine. So make sure you use a palomino big consistently so as to get the perfect look to the gallows and gather albeit nucleoside. Now let's meet for this type of enzyme completely and then begin adding in this GBBs to the spin day. So now my sky is completely dry and I will just quickly begin up some black wash and I can begin adding in the leaf EPS. We are going to be adding in a little bush detail onto the complete right side. And along with that, we are going to add a little family of deviance at the bottom side, on the left side has been. So let's begin step-by-step and RDDs one-by-one. Do not worry. I will guide you through the entire process and keep telling you as to how to go ahead. So first I will begin with a little funky leaves your at the bottom speeds. So basically the G is not in our site, it's just the palm leaves that is visible to us. So your smallest size brush and just pull out simple palm leaves like this. So we are going to be adding in palm leaves closer to each other, overlapping each other. Just filling in this piece very simply. So you can see how simply just closer to each other, I'm beginning to add in these palm leaves closer to each other forming in a cluster of the palm leaves out your. Now a few of them I'm even going to be adding in overlaid onto each other. Make sure you have them tilted as well. Like I'm adding the 10 TO now since again, might be ways that Afghan people, I get a little dry brush stroke in-between. But it's OK. It will only add to the beauty of this being big, but still I tried to poverty but using an ethically or off, make sure you are adding these details using a smallest size detailer brush only then you will be able to, Given the lookout you. So I'm done adding into palm leaf details your at the same speed. Now I will begin adding in the bush detail and the family feeding on the right side. So we're going to paint this entire patch or pure. So I've been false. Begin with the Bush DP and then from that, I haven't followed the family if the bills. So just using the tip of my brush, I'm going to begin adding in the bush detail onto the edges, paused, and then fill the entire space with the black color density. Then Bush's Ivan pull out a little of the Internet MDD and MOOC. So now you can see I'm pulling out new to love her palm leaves. The sum going to be having in the bush dB and on the edges and some vague not going to be having these Help Omni feet is popping out. Now after a little of the family detail, I'm just adding the two worst detail, just close to these families. And then the rest of the piece, I didn't fill in with the black color at the end. Now as I'm moving down once again and try to blend off between both the things that is the little bush detail and now again, little families details. Now when you're adding these details onto the right side, make sure you do not make it a lot broader. All keep it a little smaller in width so that there is this guy still visible left to add in the string like details into the sky. Also, we will be adding in a few polls, so make sure you do not add it. Now at the top speeds, I'm just trying to alter the shape a little because it's looking like in a straight line. So just trying to alter it a bit, adding little more just at the top, say now the rest of the right side, I will quickly fill it with the black color completely in-between. If you have little or small gaps visible, it's perfectly okay. It will only add to the beauty of these bushes and the pine genes that we are adding in. So I'm almost done adding in the black color, just a very small space left out. So now. Rush and using this model is size brush. I'm just going to add in little details out you're on the right side. So you can see simply adding in little medians onto the edge, giving you the VD view. And if is only beginning to get into much more of the detail, nope, just by using the smallest size brush and adding little details. So at some places I added literally be knocked off the families. And at some places I add in little detail, lop off the bush leaves as much details as bent. Now let's begin adding in the string like so, but that I have picked up little more of the black wash. And now using this I will pull out three to four string like d. D is supposed items will love the bios for the string life and then begin adding in the leaf is. So this time I'm pulling out the wire with the black color directly using in this fine liner brush. So I added one right now another one forcing from this line. You can see I'm using a smaller size brush pens. I mean, people get in these thin lines, make sure you use the smallest size brush and not a thick brush. Otherwise you will not be able to achieve these little details. I didn't read the whole folder at the bottom spacetime, just picked up a little bit of the onesie and I follow, and I will begin adding in the points out to you. So you can directly use the one sienna color in a little darker consistency and begin adding it. So halfway through, I shifted to the black color. So the reason why I use the bond sienna color at the top space and the black color the board game space is to give a little detail our effect. But this guy onto this ball as bare hands at the top, I use light color of the bonds here. Now, the one on the bottom, I mixed it with black and gave it the Docker. Now see, I didn't do the three MOOC ones at the bottom speeds, but off smaller height, one of them, I'm going to add in the data as well. So now this last one you're demanding, I'm adding in the liberal, then later on these boards I will give live in light effect as well. For now I'm going to shift into the black color now and give more of the wireline be this crossing across through these holes. So now I'm adding in more of the string lights moving across these balls. You can see I'm adding them a little curvy shape to these. We are going to be adding in the string Lai De days so far now first adding in this gene D days, then step-by-step me when I fold the DBAs out. Now if you want, you can go ahead with a little different movement of the string lights and moving in different directions. So it's completely your choice how you want to please him. So I've been just add this last one most Qingdao to order, and then I didn't begin adding in the light. So just phi strings that are added. Now before moving to the 90 days, I will quickly add in a small flag, kind of a median out. So just as one night and then moving into the bushes, I'm just adding in small triangular to defecate the flags hanging out your. Now do these string lights. Let's begin adding in little boxes to show from which the light will be popping up. So just adding small infinite genes to show from where the lights will be popping up. So I'm to all of the string lights, I'm going to add these little details quickly. Now you can see I'm leaving little spaces and adding these details. Now on some of the string lengths that are crossing each other, you can decide as to where do you want to please don light according non-Buddhist string lights. So at some places you can leave little larger gaps depending on the placement of your string data crossing each other. We are even going to be adding in the string, that is the light effect onto the bushes as well. Because since again, we are using in wash Carlos, the light would pop up even brightly on the black colorized. So as I have moved towards the bottom string lights, you can see I have added these boxes in smaller sizes, plaster so that these lights are visible to us in smaller sizes. Also the spacing between the low uneven strings. This is very less. So make sure you add those boxes smaller sizes so that you can easily add in the light without overlapping onto the string species. Now do these boxes. Let's begin adding in the light effect. So I'm going to use this yellow and white quash mix and begin adding in the light dBs. And I will just add a little more of Phi plus 2 this and get a piece still yellow color. Now using this based on your nofollow, I'm first starting small dots just below the black Palo. Make sure that your black color was completely dried. It also makes sure that you add it very carefully. Do not touch the black color. Otherwise, if we begin to move into each other, if you want, you can even create a little glow effect around these light fast and then hiding these like the veils. Now under the Bush, the date although your IV directly either light swap and you can see it's timing out or big Leon Buddha black layer as well. I'm giving it the whole freaking IDB lump your as well. Now I will quickly add the light to the rest of the string lights at the bottom space as well. So I'm almost done adding in the IDD, just undo the last one, make sure you use this Colleen and opaque consistency only then you will get this bright light look. Otherwise you will not be able to achieve the bright light blue. Now, next, I'm going to add in a little of the light effect falling onto the faults that we have added in. So I'm mixing a little of the orange and the yellow color with a little bit of whitewash and good yellowish orange tone. I will add little highlights to these polls that I have added in. So basically I will try to show the effect of the light falling onto the bone, giving it that like highlighted look. So just using the smallest size brush and just using the tip of my brush on both the right side of the fall, I'm just going to add a fine line with this color mix to throw the light effect falling onto these pools. Now I can just pick up little bright yellow color and I will add little highlighted with a yellow color directly onto these balls, onto the light highlight that added on 3D. Now next, using a damp brush, I will just add little details to. These are top speed slides because you can see they are just looking like dots out there. So I've been very simply blender. Now, last thing, using a little bit of the orange color, I will just add little highlight to the bottom space light so that they stand out more brightly in case if you want, you can skip this step for just use the smallest size brush and at the bottom of these lights just add a little highlight with the orange color, just very small rhyolite so you can either lights are being defined a little more now. So radio randomly, I'm just adding little more by Nike Egypt the night. And that is, we are ready with the fourth class project as well. Now let's remove the masking B and C, This final painting into this city of the bases. So make sure you remove the masking Dave, very carefully. Angular edges are completely dragged. It always makes sure remove the masking tape against the paper. Now again, your you can see I mistakenly lifted up little off that left side people. So that is all we need to be careful if you're using a paper on both sides. So I can just tried to correct that out. But that is it. We are ready with the fourth and the final class project. Let me give you a closer view of this class project as well. The blending looks so powerful even on a graph sheet paper. So I hope you enjoyed this fourth and final class project of this class. 7. Thank You: I hope you guys enjoyed painting in these four pretty beautiful evening sunsets with me. I hope through each class project, you will, even though I understand the different blending techniques that we went through for blending in disguise and thriving in the clouds. I would love to see all of your class projects into the project section of this class. In this, if you like this class for whatever reason, I would request you to please drop in a review so that it will help me reach the audience who would be interested in are similar content. I will see you guys soon in my next class. Thank you so much to each one of you for joining me into this class and painting it along with me. Thank you so much once again for joining me.