Watercolor Easy Landscapes : A Greek Travelogue - Paint 4 dreamy landscapes in watercolor | Vinita | Skillshare

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Watercolor Easy Landscapes : A Greek Travelogue - Paint 4 dreamy landscapes in watercolor

teacher avatar Vinita, That Crazy Doodler

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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

10 Lessons (2h 1m)
    • 1. Bon Voyage!

    • 2. Materials Needed

    • 3. Color Palette

    • 4. Painting Bougainvillea

    • 5. Lights and Shadows

    • 6. Project 1 : Door of Opportunity

    • 7. Project 2 : Stairway to Heaven

    • 8. Project 3 : Sunkissed

    • 9. Project 4 : Hope

    • 10. Adios!

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About This Class


Hey Everyone!

Thank you for joining me again for a fun class. With the way things are right now, travel for leisure seems like a distant seems like a distant possibility for most of us. So I thought of putting this fun series on painting the beautiful places that we would dream of visiting - starting with Greece.

Greece has been on my list for a while now and going by the amount of pics I have on my Pinterest boards, you could say I am mildly obsessed with the white walls , blue doors and vibrant bouganvilleas.

And thats what this class is all about! We paint some dreamy sunlit landscapes from Greece together! 

As always this is a beginner friendly class and I have broken down all major elements into smaller parts to simplify them.

All you need for this class -

* Watercolor paper - preferably 300 gsm 100 pc cotton

* Watercolors - any good artist grade watercolors - I ll share my swatches separately in one of the sections for you to match them

* Brushes - 1 big round brush for background washes and one smaller one for details.

And thats it! Hop on , lets travel to Greece together!!

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That Crazy Doodler


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1. Bon Voyage!: Hey everyone, thank you for joining me for yet another glass of water colors here on scan share. Now this diamond slightly different. Now upgrade. Wendy didn't really pan out the way anyone expected it to. And most of us had private plans which kind of didn't work out. And I don't even know when it's going to be some sort of normal mood. But I was tempted by, and the pictures that I had been on these travel boats on Pinterest and I was really looking forward to somewhat till vacation. So that's what this class is about. You're going to pay in some beautiful Greek landscapes. So when I say increase, the first thing that comes to my mind is the bougainvillea has the white pristine walls, the blue dorms and those, and most importantly, the blue clear water. So you're trying to capture all these projects are, projects are going to be simple. And as always, I'd be breaking them down into simpler elements before we move on to our main projects. And again, bigness or welcome, even if you don't have any experience with watercolors, you are welcome to try this out. So I've tried to capture full beautiful landscapes from Greece, bought the products of this class, and I really hope you'll enjoy learning them and painting them along with me. So join me on this virtual vacation to Greece, API journey. 2. Materials Needed: Alright, so for the materials of this class, you need these very simple things that you see over here except maybe these shells. So you'll need the watercolor paper. So I'm using the 300 GSM, a 100% cotton Ba Hong sheets. Now at them the small thumbnails, not too small, but kind of a practice before I go on to the project to see how the final composition looks like, et cetera. So this is kind of a phi half of this. This mean people that I'm going to try out my projects on is kind of a foe. So go with any size of the vapor. You can also go with a smaller version like what I did here for the thumbnails. It's totally your call. Go with the size that you feel comfortable right now. And that's it. Just make sure that it's a 100% cotton because that helps with the techniques for brushes. I'm going to be using these three sizes. These are silver crash black velvet series. Now again, this size of the brushes depend on size of the paper that you're going to use. So you'll need one big branch for all the background washes and then a few brushes for the detailing. And if you're using a smaller paper like this, they may be just a couple of branches is enough. One for the washes, bigger one and a smaller one for the detailing. So that's about it. That's all the brushes you need. And then for the paints I'm using Daniel Smith watercolors. Now this is a personal preference. I absolutely loved these scholars and they are highly big, vented and vibrant. So I grew up with these. These are professional grade beans, but feel free to use any brand of watercolors you have. Don't be too stressed out about the kind of the brand of art supplies you're using in this project or rather in this class. Just make sure that the paper is 100% cotton and we're good to go. So let's get started. 3. Color Palette: So before we get started, I thought I'll share a quick swatch of all the colors that we'll be using in this class. So I have my thumbnails here that I tried out previously. So for the flow rules, mainly, we'll be using three different shades of pink. So we'll be starting with a very light be swore Shofar prepping. So Opera Pink is a very vibrant kind of pink. So I'll just show you here the DS version. So this is the light wars that we're going to try out. And then we'll add in a little bit of pigment it prepping right onto that wash wet on wet. And this still is the base layer. Now the next layer, the slightly darker version, will be with a different pink. So I'm using the Quinn rose dynasts myth. Quinn rose, go for something which is slightly darker than this base layer that you have been did. So this is how the Quinn rose looks like. So it is still nice, vibrant pink, but slightly darker than the opera, pink. And then for the last layer of the detailing we'll use will be using a much darker shade. So in this case, I'll be using Alizarin crimson, Permanent Alizarin crimson. So you can see the gradual shift of colors. So we start with a light B's ad in the details, second layer of details with the Quinn rose and then the last layer of details with the doc is pink. That's the bowman president crimson in my case. So just UFO sheets maybe that are similar to these. You need not have the same brand, but just try matching a similar shape so that we can have a similar output. Or if you want to go for a different color, bougainvillea flower, by all means, go ahead. Now with the greens. Again, we do the same thing. We start with a very light green. So this one here that I've used is the yellow green from Daniel Smith. And then we add in slightly darker layer. So this is a Sap Green. So we'll be doing it in layers just like what we did for the flow rules. So the last layer would be the darkest. So I'm using a hooker screen over here. You can simply add a little bit of blue to the sap green to get the darkest green as well. So just try playing with these colors. So we have the same kind of variation, the same kind of gradual shift in colors, like what we had for the pink part. So we start with the lightest one as the base layer, and then add on the darker colors for the. And. So that's what we're going to do now for the doors and these tombs, we'd need a nice blue. So I'm using a cobalt blue over here. So I'm just getting it here. Okay, it doesn't look that good. Let me just clean my brush and try this again. At Coval glue. So quick tip, cleaning your brushes. So that's, that's the cobalt blue that I'm going to be using. You can try and match it up with a similar blue. The idea is to capture the same color that you'd see in those beautiful Greek landscapes. So that's for the dues. Now for the C, I'm going to be using this cobalt d. Just I think you're using it in a couple of places. Yeah. In these these two, That's it. And for this one, I've just gone ahead with Docker version of saline for the C part. And last, we need a little bit of brown for this and for the land, but so I'm just using burnt sienna. So we can go with something like this light version. And if you want to add in a little bit more texture or details, can add a hint of blue or go for a burnt umber kind of color for this. So that's it. Those are all the colors that we'll be using for these projects. And now, OK, OK, So we also have some boolean blue for the sky. So in couple of the projects like this one and the this one. So in these we have a little bit of sky that is visible. For this, we're going to be using a Julian blue. Again, you can also use a very light wash of cobalt blue as well for the sky. It's perfectly fine. I'm just listing down the colors that I have used. And for the shadows will be mixing our own colors. I'll be sharing a little bit more about how to create the perfect color for these shadows in a separate section. But that's about it. These are all the colors that we are going to be using for all our projects. So see you in the next section where we explore the Florence. 4. Painting Bougainvillea: So in this section we're going to cover some very basics of painting the bougainvillea plant. So I'll just share the process that I follow to do this. So let me just turn the paper Hill. And let's imagine that we have a big part of bougainvillea plan. So I'll just draw the bottom here. So V, walk on the shadow part later. So we have a plant somewhat like this shape. Now we start with reading the people. Now I'm just using random strokes. With clean water. I just have an overall shape of the plant in my mind, but I'm not following a certain pattern or anything. I'm just doing random strokes within that outline that we have for the plant. And once you have done with the strokes of We start with the first color, that is the opera pink. So since the paper is already wet, we just dropping in the opera pink like this. Since we are doing this wet on wet, the color will spread on its own. So there's not much blending required at this particular stage. And while this is still wet, I'll start adding the green as well. The light does screen that we have. And at some places, the colors of the pigments that you're using are not compatible. That may be slight Medina. So try this out. Try mixing these two colors beforehand to see the result, the mix that is generated. So this is the green that I'm using. And while it's still wet, I'm just going to be dropping in a little bit of augmented or propping just here and there. So this is still our base wash and it is going to dry much lighter. So we just working the Bs here. And next, once this is completely dry, we'll be adding the details. And now I'm just adding a little bit of small dendrites here and there. These just add to the overall feel of the plant. So I just like adding these small things at the ends. So we let us try. Now, now that the first base layer is Dr. we'll start with the second layers. I'm using Quinn rose over hill. And you can use a smaller brush or you can go with the same brush as well. If you are comfortable with a single brush, using it both for detailing and for washes. By all means, just do the same. I am using a smaller brush from the same series over here for the Quinn rose. So we've started with the Quinn rose. We'll just add these little strokes, make sure that the base layer is still visible. Do not try to cover the layer completely because we still want that light being to show, rather peek through the details. So leave a little bit of it here in there and just add these small strokes of deep deals with windrows. Now, for the second layer, while this is still wet, I just want to soften a few edges. The ones that are in words to the plan. So the outer ones, I'm going to retain them as it is, just the strokes that are towards the inside part bland. I'm just softening them a little bit. Just using a clean brush with a little bit of water to this kind of blending. Now, next we start with the next shade of green, which is a slightly darker sap green. We follow the same technique. We do these little random strokes for detailing. And we make sure that a little bit of the first layer, the lightest green layer is still visible. Okay. The darker pink or the darkest spin rather. So I'm using Alizarin crimson, Permanent Alizarin crimson. So you can see that we started with a very light are propping, then went on to Quinn rose and then Alizarin crimson. So this is the kind of layering that we have done for the floaters. So I'm still using that small brush and I will be adding in these little details, little strokes using Permanent Alizarin crimson. And again, we take care that we do not cover it up over the previous layers. So make sure that your previous two layers still visible through these. You just trying to add a little bit of shadows using the darkest color over here. So it's kind of, oh, we're trying to add light and shadow within the plant using a light to dark kind of radiation in the same color are rather similar colors. For the green, V0 will be using the hookers green for him for this. So I'm going to be doing the same technique that we did for the flow rules. You small strokes and add a little bit of detail. So that's all we're going to paint. Rather the plant, we will be starting with the light layers and building it up with slightly darker versions of the same color. So tried to create a similar gradation of colours with whatever brand you using and you good. So in the next section we'll be painting the shadows of this plant. On the techniques for shadows. 5. Lights and Shadows: In this section we're going to cover everything about the shadows. So all the Greek landscapes that you see on the internet are very bright, pristine white. And the also have a lot of sons, so there are a lot of shadows as well. So in this case, for example, this plant will have a shadow somewhat like this. So if I just shared this thumbnail for example, you can see that there are a lot of shadows on this one. So what we do is by creating the shadows, you're indirectly highlighting the white bar. You do not need to create the highlights in this case because all your walls, et cetera, are already white. You just need to work on the shadows, choosing the right color. And that's about it. And when I say shadows, usually the color that comes to your mind might be a black or agree. But what we are going to do is we're going to use the colors, the same colors that you have in these pictures, in these paintings to create the shadows as well. So I'm going to be using a mix of this opera mapping and a blue or any of the Silurian blue or cobalt blue that we're using. And we've created light purplish kind of color. It's going to be very light since the shadows, I don't want them to be a stag Greek kind of shadow. So I'm mixing here the pink and the blue to get somewhat purplish, greenish kind of color. So try this out prime mixing the pins that you have with the blue set, you have to create a nice bluish purple kind of color. And we'll be using a very light wash up this color for the shadow, somewhat like this. So this is what I'm going to be using for all the shadows, somewhat similar color. And the reason I'm using this is to show a very subtle soft kind of shadow and not give a very hard black kind of shadow. So we'll be using a similar random stroke method that we did for the plant painting the plan. I'm just doing this very simple stroke based on where your light is coming from. You decide the source of light and then add the shadows in the opposite direction. So just by creating the shadows and defining the shape of the port, you agree, giving that effect of having a lot of sun in this picture. Now, just to share an example, just to show you why using a soft color like this is better. I'll just take a nice dark gray that I have and I'll share it here. So if I use a black or a grief or a shadow, for example, you can see that this gives a very dark kind of look, a very stark sharp kind of shadow. Whereas I want the projects that the projects that I have in mind are more on the soft or subtle shadow kind of version. So that's the reason I showed you these mixes. Since most of our backgrounds are going to be white, because we are going to be painting the pristine wide Greek landscapes. We need a softer color for the shadows. You can also use a darker one, for example, in this case, since the door is blue, abused a darker color for the shadow. But we'll just play around this particular thing a bit in the projects. But in a sense, you'd rather go for a soft satin shadow like this than going or using a black or agree for the shadows within the plant, you can creating shadows using the darker colors like by going from light to dark, you created the shadows within the plant. But for the effect of sunlight. Or to show that it's a Sienese Hamlet, the, you have to create these light grayish or the soft shadows. And that's what we're going to do in all our projects. Also for these walls that are kind of not facing the sun, you can color them with the same color and give them a little bit of texture so that the other white part is highlighted indirectly. And for this, again, we'll be using the color set we create. You could also go for a light greenish kind of color, but again, tried to mix these colors instead of directly using a black or agree from your palate. So that's about it. And that's everything that I wanted to cover about the shadows. Now, let's get started with our first project. 6. Project 1 : Door of Opportunity: Onto our first project, we are going to be in this beautiful door to heaven. So I'm using an, a full-size sheet over here, and I'm using a summary sheet for all the projects. So that's going to be a project. The project. So let me just make a quick sketch of the door and this little ADL Mikkel. So this is going to be my BCE. And then have this kind of giving us a glimpse of the c over here. And then we have all these shadows at the door. Adding another line over here for the deep feelings. So this would be the Dhaka blue line, drawn them when we paint and then add the dog. So I feel that the dimensions that I have in the main project do not really match what I've done in the thumbnail. So I'll just try and extend the door a little bit, make it a little more rectangular. So let me just try that out. Onto this separation or this half DO that we have. So this would be the other part of the dough. And then VD pad a little bit of detail to this one, this door. And look like I'm just dividing it into three parts. And we're going to add those little rectangles onto it. Okay, so our daughter is done. So now we have this little space over here, red in the plant. So I'm having bad at an angle over here. Maybe I just fixed this. I really don't want it to be that sharp. And good. Drawing the b's over here. And I'll just add the horizon over here. A little bit of shrub or a mountain, this, and that's it. We'll erase this and get started with the painting. Okay, so we start with the bougainvillea planned a wedding. The people with the just plain water, clean water. We do have the overall shape of the planned over here, so just try to follow that outline. Rest of it is just random strokes. Now we start wrapping, just mixing it TO starting with the light Bosch and then we'll add the details later. Now, I just draw the segmented version a bit. So you saw that I am using the same color that I'm using lesser water for the second round, rather the veteran Rettberg. So add leave this here, this is going to be, and next we add the greens and we follow the same technique. So for the greens, I'm using the lightest green now. Try to make sure that there's a good clean edge at the b's. Okay, now while this is drying, we can start working on the door since it is not really connected to the plant. So I'm going to use the CVD blue for this. And we just became the door. Just follow the sketch that we had with the very light worship cobalt blue. We add details with the same blue later on. But for now we're just going to be swash. So it's going to be right. Okay. Once you start with the second layer of TPS. So for this I'm using windrows. And in the second video, just using random strokes over here, making sure that you're still visible. And then do the same for the green box. Now we're done with the bank be stopped with the green. So I'm using the sap green to add the d. D is on belief. Okay. Right. Moving on to adding the deep on the dork. Again, we use the same color but a slightly darker version. I'm using a smaller brush for this slide. Just draw this beam this way. We have the edges. Doing a very simple design for the door. Just some some now me it just using a clean, fresh to blend these. So I don't want any hard edges. We still want to show the light and shadow effects. So for that I'm just creating a very soft kind of in this particular Leo, father DO. Now we start the plant. So I'm using the Permanent Alizarin crimson. Good evening. In the previously is this proof. I'm just adding a few strokes here. Okay, we started with success. Okay. Now while does this drying, let's start with the C part. And just trying to be in the elements that are not directly connected to each other. So I am using this commodity blue to being the sea. Just reading my paper first because I don't want the color to be two prominent. The main focus of this particular landscape is still these bougainvillea flowers and that blue door. So the beach is just dead in the background. So we're going to keep it. Not too bright, just a soft employee. So I'm just adding beco biotic BD blue. Now at the base here I'm using a bone Sienna, very light color. Just to show that there is a part of the beach just outside the stood. And that's it. Adding a hint off at the end to show depth and see not much, just a hint at the horizon. And that's it Now coming to the base of the plant over here. So since this part is not directly in the sunlight, will try to add some detail over here. So I'm just using a light wash off the mixed colored, the shadow color that I have prepared. So it looks almost creation over here. I'm just going to add a little bit darker pigment to create some sort of texture on the wall. And that's it. Still looks a little down, so we just add a slightly darker pigment it shadow Gallo onto this one. So since this is still wet, I'll just drop it in so that it blends in wet on wet. So it creates kind of a nice shadow effect on this wall. A hint of Brown at the very base. And if you have any sparks coming up on the white, maybe we'll fix them later. Dove is just some paint mixing, some more buoyancy AML for the branches. So we'll just create a few branches here. You can use a thin brush for this. Just some symbol branches to show through the leaves and the flowers. That's it. Now onto the shadows, we'll start with the door. I'm using the same color that I've made and just being doing these very light shadows. Light shadows, that, that sounds wrong. But what I mean to say is I'm not being very nice. Dog, dog black kind of shadows, kind of these lighter ones with the gorillas that were mixed. This is done. Now moving over to the plant, we have the shadows over here. So again, I'll be using the same gala that be mixed, mixing a little bit more. And we start adding the shadows one-by-one. Just a little bit here. Connect the one on the door with a darker shadow on the door itself. For now we're just adding the shadows on the wall. So I'm using this light, light shadow gala that I'd rubella. And using random strokes to show the shadow of this plant. Using the same makes a slightly more augmented version, we being the shadows on the door. So V show them as connecting, but Lego sets, the wall is white so the shadows on it won't be as DAG of it as this particular door is. Kind of the shadows will also show up Docker on this, making it a little more dark go. Last round of detailing. This is for the door. Again, we are trying to add some shadows here so that it gives a nice sunny day effect. So I am just using the same color and painting br of the design for this rectangular design that we made earlier. Also the joint. And then we slowly blend these invade the clean version. Now adding a slightly pigment, cobalt blue for outlining few of the deep bass. Fixing this spot a little bit. There was a bit of color over here, so I'm just adding a few leaves onto this white. Next we add the sky. So I'm just using a light wash up for this. Read the paper flows fan. I'm just adding in sort of boolean. And Sam Green Hill. Like I said, I wanted to spot to be a very soft satin one. I don't want the adventure to be on this block. So I am just reading of any soft kind of view in the spot. Adding a little bit of togas Abilene, just fill some texture and that's it. So I hope you enjoyed this project. I hope you enjoyed the PI of lights and shadows. So see you in the next one. 7. Project 2 : Stairway to Heaven: Onto our next project. And in this one we're being think this fun set of stairs that sunlight than beach at the end and of course our broken milia plant. So the special thing about this one is that we have some white flowers as with, so earlier we were only trying the pink one. So in this one we are adding the white flowers. So how will pin them is by simply painting the shadows of them. And then we have the shadows on the stairs as well to create the sunlight effect. So that's what we're going to do. So let's get started with sketch. Now we'd be having the steps at an angle, so I'm just trying to create them this way. So we just followed the same angle for this and we leave the remaining part over here for the flow rule as a disk and b's. So smaller sections of right that are left on the steps and just make like this to kind of differentiate them, differentiate the stitch. That's it. You'd be painting them with greatly drawn. And that's it. That's steps done. Now for this portion, I am adding a little bit of detail over here. I didn't do much in the Tom nailed, but I since I have more area to play with over here, I'll just add a little bit more detail onto the stairs. And that's it. We have the beach over WHO? Somewhat like Yo and the remaining ozone on the spot. So I'll just erase this a bit. And now be start with uploaders. Same steps. We're going to start with though reading the paper with random strokes, falling the overall outline of the plant, then adding the propping windrows. And in the end, Alizarin crimson father detailing. Now remember that in this one we do have to leave some space for the white flowers. So in keys of v, add in a lot of pink and forget about the white flowers. You can simply lift up the being from this area to create some byte flowers later on. So that one will he be doing it kind of went on dry liter. For now, we're just following the same steps that we did earlier for the bougainvillea plant. Lead this part as it is, and being dressed, dropping in. Slightly big men did hold onto a green. Now, make sure that you still leave that space for white. Maybe you can add a little bit greener here and there. But we still need the space for the white flowers at the base. Now, while these are still drying beta Start with the beach or rather the C part. We'll start with simply reading the people and then adding the gallows sleep drawn. Okay, I'll starting with the cobalt blue. We'd add a little bit of blue at the end just to show that the water is deep with that. For now, we just start with the Warshall. Deep Blue. Next, adding a hint of the regular blue, you can also add some Boolean for this. And since this is really just let it spread and do the blending on its own. While this is drying, let's start with the white flow rules. So I'm using a very muted kind of gray shape that I made using the same colors of blue and pink. But this is to water down to light as you can see. And I'm just using these for creating an effect of the white flowers, of the shadows. So since you cannot really be white flowers on white people, what you are essentially doing is creating these shadows to represent the White. But as Florence, and you can see that once we have the steps built up, this will show up to be much more. And that's it. So we leave it like that and we start working on the next layer of the flow rules. When rose starting random shows. Okay? So just using some of the edges, but all of them just appeal that in words. Next on the green leaves. Now we start working on the stairs. I'm using, agree that I make stuff. Use readymade free as well. If you have one in your ballot, or just use your colors to mix up a grade which is kind of this light, not too dark. Now for this part, you just spin the whole thing first and then add in the deep sleep drawn with a darker color. Remember to be careful around the space for them. Now using a Docker cream makes make sure you leave that detail white strip at the edges. Okay. So I have to show that these are overlapping. Now once this is dry, we can start working on the deals. So for the detail part over here, I'm just using our dog Agree. And I'll be gathering all the area that is around the blocks, all the shapes that we created over here. So we're just going to paint around them so that they still show up in this light degree. And this was not a success. If. Okay, okay. Thinking in some big men did create to add in a little more detail, more texture to these spots. And by that price we start. So added sudden crimson for the Green Screen and Mikey is Father leafs. Okay, onto the green snow. So I'm using my screen over. Okay. Now for this BOD, via going to recreate things, some shadows. So just to share what I've done and the thumbnail. You can see that this part is essentially showing that we have a lot of sun. So for this we being to make some to create and just add it at an angle on each of these steps. Right? If you feel it's becoming too dark, just use a clean trash and lift up a bit of the color like this, especially in the areas where behalf that white strip. That's it. So it like this and now this part. So for this, I'm mixing up a nice piano for the base. Once again, be careful then plein painting around these flow rules says, leave a little bit of white hidden data to show that there are some gaps. Now I'm dropping in a Docker. You can use the same bunch of pigment did value or a bond on both. Something that is dark enough to create this kind of big show on the land. Just extend this line over here a little bit. And that's it. Still working right on red and dropping in a little more segmented bond on both. Just about adding fixture to this file. Last one we add a little color to the spot. Same NHGRI that we've used for the status, maybe a little watered-down version and blended like this. That's it. That's our project. So I hope you like this little flight of stairs. See you in the next one. 8. Project 3 : Sunkissed: Alright, for our next project, we are going to paint a beautiful sun kissed landscapes. So I'm just drawing my horizon line over here. And this is where my CNES, or rather the view of my C ends. Now next we have this building at a certain angle. So I'm going to try that out over here in the main project as well. So there's a bit of perspective study involved in this. I won't dive too much into this because it's not a very architectural kind of class policy. But I would highly recommend trying out a few classes on skill share which have details about perspective because it really helps if you're drying architectural buildings, do know in detail about the perspective. Now just to simply shared what I am doing here, I have put in a vanishing point here on my horizon. So everything, all the lines from my building converge here. So anything that is there on the building is actually going towards this line and converging dare. So that's one of the very basic things about perspective. But it's definitely something that is worth exploring more into if you are do drying architecture and buildings, etc. Done with most of the sketching fall the building. Now we have blonde over here, so we have this bar, the white bar. And I'm just drawing a very basic outline for this one as well. And then we have the building till here, and the bougainvillea plant will go right on top of it. And for the floor, I'm going to be drawing somewhat small, rather big patterns of just laying the gobbled pathways that we have. So in this one, in my thumbnail, I tried out or rather experimented something. I tried to change the colors from the original picture and try out something which really didn't turn out to be that good. So I'm going to stick to the original picture for our main project, we will just stick to the same colors that are there in the original picture. And so I'll just quickly erase this. Now starting with BCE. So as always, we start with just plain water and random strokes. And then may be adding in the opera like wash. Dropping in. And now this one is already live bush we add in some value just to walk with success. Dropping in the augmented opera rose. Now while this is drying, we let start working on the floor. So legacy and I didn't really like the way the thumbnail sketch of flow turned out. So far, our main project, I'm going to be using BCE of Bhante enter like this. And then when we adding in some dark blue or an indigo or bluish-gray on top of this to give it a brownish, blackish look. So net this walk wet on wet. Now, we have to take care that since this is what unmet, you'll have to do it in small packages. So it may not be possible to do the whole floor at once. But that's fine. We can just do it in small patches. Walking in the same way we laid down and wash off burnt sienna and then add a little bit of that blue on top. Let's just wrap up the 4 first. Success and all. Okay? Right. And so since success. Okay. And we are done with the floor. So now that the plant is draped of, we'll start with the next layer. So in this case I'm using the windrows. Now, you have to make sure that you take into account the angle of light or the Anglo-Saxon race. So I'm going to make sure that the right side of this plant is.gov. So I'm adding a lot more detail over here. Not as much towards the left side. Okay. Just close the window. Okay. Now we have some shadows over here on the board as well. So for this again, we will be using the same color that we use for the shadows. And I'll just show you here on the thumbnail. So it'd be drawing a very simple kind of pattern like this. And we do the same on the main project using the same column. And b, let this dry. Now onto the sky, I'm just reading this guy over here would be dropping in a little bit off. Just giving an indication of a slightly cloudy kind of sky. And that's it. Adding in a little big mentor to Julian. Just add the sentence like this. Now, while that is crying, we start working on the detailing of the flows. Now in this case, I'm trying to avoid being close to the sky part. So I'm just adding in the details on the other side, the right side using Alizarin crimson. And of course the little tidbits over here describe completely onto the window again, using a loop to add into BB. Now for the C in this one, I'm using a different color. So in the previous ones we used cobalt d for the C. In this one we're going to use the citrulline and cobalt blue for the scene because I wanted it to be kind of a little mute it and not really as vibrant as the Coverity. So just using discolored instead and adding the dog, just do show depth. Let it blend in Madonna. Now, moving on to the shadows, I have used the same color that we used for the shadows on the board. And we'd be being, being random strokes on adding more shadows. Now fixing the edges over here. So you can already see that as compared to the thumbnail, the floor on the main project looks much better. And this is kind of actually how it was in the picture that I took for reference. Now on The only thing I would like to change here is this one. So I wanted to create kind of a separation between the wall and the fluid. So I'm adding a little bit of the same shadow color. Very diluted for this one. Just lifting up any extra color that I may have left. And that's it. That's our next project. And see you in the next one. 9. Project 4 : Hope: Onto our last stop in this watchin vacation. And this time we have been doing this beautiful view for the project. Now again, this has this blue dome and Bogan live flowers, which is something very symbolic of Greece. So we're going to try and captured the essence of this. We're going to try and capture the sunlight, the Bergen who live flowers. The shadows here, not sure of this is visible, but we'll try and put in some shadows here. And on this part, the sunlight is coming from Hill. And then again on the Dome Israel, this side would be lighter, whereas this side would be dukha. So let's get started with the sketches. Now, I'm going to try out a very simple technique for the doom. So we'll mark the center of a wheel, center off the structure, the dome. And now we'll work on the top part of the dome. Like I said, this is just my drawing, this dome, there may be better ways to do this. A few, somebody with a bit of an architecture kind of background. Maybe you know, better ways to try this out. I'm just doing this in a simple way that clicks with me. Now here we have a sudden Angular the structure. So again, to try and replicate this in our main project as well. So this is the separation of walls comes in nice little window over here. And another one over here. Now, again, looking at my thumbnail picture, I feel that the structure of the dorm is slightly different. So I will just increase the size of this particular part. Do fix in the dark part of the dome. And then we just erase this and get started. Ok, so in this case we're going to start with the sky first. So I'm just going to whet the area where the sky is. Next we drop in the Silurian. Again, get trying to create some simple fluffy clouds. So not going to put in a very dark kind of value. Try and avoid putting the blue towards the right where the florets are going to be. So I'm trying to concentrate more on the left side, adding in the blue here and there. And not really adding much of the blue on the right side where we are going to paint the flowers. And be good. So we let us try and in the meantime, start with flow rules. So for one last time, we're going to continue with the same technique. We read the people first with random strokes and then drop in some opera upping and light green. That success, adding a hint of big mentored or prepping Karen did. And then we let this clear dry completely. Now that might be but as Dr. We start with the second layer of the flow rules. So I'm adding it with the Quinn rose and short strokes. Okay. Right. So being the same size. And after this, this layer dry completely and move on to the last level of details for the filter. Okay, now might be brisk dry, so I'm starting with the last layer, all the photos and the leaves. So adding these little tidbits, add the edges. Okay, moving on to Dhaka screen, screen. And then we let this layer dry. Okay, now that might be produced dry, stopped with the doom. So for this, I'm using a cobalt blue. I'll start with a lighter wash of the complete dominant flows and then add in a little bit of augmented cobalt blue towards the right side where we wanted to show the shadows. Okay. As always, be careful around the photos and the leaves over here. You don't want to go in depth. So just make sure that you are taking the edges. You now dropping in some big men did towards the right to show the shadows. And over here, I'm using the same blue for this. So the shadows, so I'm going to be using shadow makes. So start with this base part. Now we also have shadows. Add the dog, like in this case, this spindle. And also here at the base of the tower. So V just add this little bit of shadow colour here as well. So since this particular wall is not having direct sunlight, so just being this one, the shadow Gulotta swear, not really dark but just kinda shadow. Once this is dry, I just add another round off, dealing for the shadows as well. So I'm using slightly big mended Gallo, same shadow colors. Same at the base of the dome. So that we can show that there's a shadow over here. And I'll just being this remaining portion at the top of the dome and across, using a slight golden yellow for the cross. Now I'll just add a little bit more detail on the window over here. So adding details with a dark blue. And that's a, that's a final project. I hope you enjoyed this one as well and you'll give this a try. See you in the next section. 10. Adios!: And that's it. We end. Reese adjourn over here. I hope you had a pleasant time in this mediation, in this virtual vacation. And I really hope that you enjoyed painting the projects. If you do, please do upload them in the project section. And if you're on social media, you can find me as that crazy dude low on Instagram, Facebook, and Pinterest. I do have some super-cooled travel boots on Pinterest. Kind of what prompted me to this class out in the first place. Also, if you have any suggestions or feedback positive or negative about this class or any of my other classes on skill share, please do reach out to me. I'd love to know your feedback because that really helps me in improving my classes further. So here's wishing you happy creative journey ahead. See you soon. Bye.