10 Beginner Friendly Meadow Painting with Gouache

1. Welcome to the Class: Gouache is a versatile and vibrant medium that has captured the hearts of artists for centuries. Its unique properties make it a favorite among painters, allowing them to create stunning works of fat with depth of richness. Artists can achieve subtle variations in hue and tone by mixing gouache paints on a palette, allowing for endless possibilities in creating different moods and atmospheres in their artwork. Hello everyone. I'm mashing Taparia, a chartered accountant by profession, and an artist by heart. You can follow me on Instagram under the handle creatingfromtheheart, to follow my Creative journey. You can also visit my store page, creatingfromtheheart store, but you will find our handmade and journaling supplies. I welcome you all to the Beginners Meadow Painting Class with Gouache. In this class, I will guide you through the step-by-step process of creating ten beautiful meadow landscapes using gouache. Each meadow painting will showcase different elements, such as rolling hills, wildflowers, trees, and peaceful skies, allowing you to explore various aspects of landscape painting. By the end of the class, you will have a collection of ten stunning meadow paintings reflecting your newfound understanding of gouache techniques and your unique artistic expression. These artworks will serve as a testament to your growth as an artist and inspire you to continue exploring the world of painting. Throughout the class, we will cover essential techniques, color mixing, brushwork, and composition, ensuring that beginners feel comfortable and confident in their painting journey. So you do not require any prior painting experience to join this class, as I will be discussing all of the Basic Techniques in the beginning of the class for you to practice and join us directly into the class and Paint these beautiful Meadows along with us. Gouache is a forgiving medium and hence font to play along with. So come join me for an enjoyable and Creative journey into the world of meadow painting with Gouache, unleash your creativity, learn valuable skills and create beautiful landscapes that will bring joy to both yourself and those who behold them. So without further ado, I will see you guys into the next lesson of this class, wherein we discuss all the Basic Materials and Basic Techniques before diving into the Class Project for day one 2. Materials Required: So let's have a look at the materials that you would need for this class. The first thing, I'm going to be using this sketchbook. This sketchbook is made of 270 GSM, 100% cotton paper. The sketchbook can be used on both sides, and it is hand stitched. You can find similar sketchbooks as well on our website. So I'm going to be using this sketchbook for each of the paintings of this class. If you have a closer look, you can see the texture of the paper. It's a little rough grain, 270 GSM, but 100% cotton paper. You can use any paper, which is 250 GSM and above, but need not be 100% cotton. It's okay, even if it's 50% cotton paper since we are working with guash. So I'm going to use this A five size landscape paper sketchbook for each of the class projects. If you want, you can even use loose paper of any preferable size that you wish to go ahead for painting. Coming to the next important material that's going to be the pins. We are going to be using in gauche panes. I'm going to use in this set of 25 color gauche set from the plan flash panes. You can use any gauche pines in the form of tubes, jelly cars or these bottle gauche panes. If you want, you can even use poster colors. Make sure you're using them of a good quality so that you have an opaque look and not a translucent one. Next, I'm going to use in a masking tape or a washy tape for taping down my paper for each of the class projects for the coming ten days. You can either use a masking tape or a washy tape, whichever is available at your end. Coming next to the palette. I'm going to be using in this airtight palette, wherein I will pick in the colors from the jars and mix it on the palette. I do not clean this palette frequently because these paints can easily be re wetted and re used, so I do not wish to waste them. Coming to the brushes, I'm going to use in these brushes from the brand Princeton. It's going to be a flat brush, some round brush, and a liner brush, or you can use a detailer brush, whichever you wish to. I'm even going to use in a spoiled bristle round brush for adding in details. Next, you would need jar of clean water for each class project. Make sure you have clean water. Otherwise, the paints may turn muddy. I would be needing a rough cloth or a tissue to d excess paint or a dab of excess water from the brushes. So these are all the materials that you would be needing for the coming ten days for each of the class projects. You can either use a paper, and in case if you're using a paper, make sure you have a surface to tape down the paper. Make sure you tape down on a movable surface so that it's easy for you to adjust as per your hand movements. For the paints and palette as well, you can go ahead with whichever brand is available at your end as it's going to be more about the techniques rather than the same exact sheets. So grab all your materials, and I would see you guys into the next lesson and discuss some basic techniques about guash. 3. Day 1 - Evening Meadow: Let's begin in with our class project for the F1. I will begin Masking down the paper on all the four edges. I will just be doing this for the first Class Project. For the rest of the Class Projects, I will already have my paper taped down. So I'm going to use in this printed Masking Tape, which is actually a washi tape. You can even use the simple carpenter Masking Tape. That's the cream or the white tone masking tape to tape down your paper on all the four edges. Make sure after you add in the layer of Masking Tape, you run your fingers firmly on all the edges of the masking tape so that the paper and the Tape are attached to each other firmly. If there will be any loophole left in-between the paper and the Masking Tape. The paints will flow into the edges and may ruin up your edges. So it's very important to make sure that the paper is taped down firmly on all the four edges. I'm first going ahead with one of the larger site, then decide exactly adjacent, exactly opposite to that, and then the rest of the two sides, while removing in the Masking Tape, also makes sure to go in very carefully and remove the masking tape which was laid last. I'm done taping down my paper. Now let's begin picking up the colors for this Class Project. For this Class Project, I'm going to go ahead with the shades of violet and pink. So in this set, I have two tones of violet and tone of pink, which is the magenta color. Apart from that, I will be needing a little bit off the white color later on, the green tones we will discuss when we begin painting the field space. Now I'm first going to beginning with the darker violet color. I'm not going ahead with any pencil sketch. We are directly going to go ahead with the paints and adding the details. I'm first going with the darkest tone of the violet at the top. Now in case if you do not have the light of pistil violet or a lavender color already, you can simply mixing white to this violet color with a little pinch of pink to get a lavender kind of a tone. I'm first going ahead with the darkest color at the top. Make sure you get the color in a perfect consistency so that it glides smoothly. But make sure you do not add in a lot of photo. Otherwise, it will begin acting like watercolors instead of acting in as opaque gouache paints. Now I'm picking up this lighter lavender color and I'm going to apply it Next closer to the violet color and blend both of these colors. Now since both of these colors will blend into each other easily, I'm not using white in-between them to blend them. In case if you do not have the lavender face till color, you can use in White along with your violet to get in a lighter tone of the violet color. So I'm taking the lighter color till a little below space, and then we'll move on to the pink color. Now this is already a pistol pink, magenta color that I already have in. But in case if you do not have a pastel pink, you can simply mixing white to any of your pink tone to get a little piece subtle pink, but make sure you do not make it to pasting or too light. Now I'm going to pick up the pink color and begin blending it with the lighter violet color that we've added in. Now, make sure again, you do not put in too much water into the paints. Pick it up in a little bowl consistency so that you get an opaque look. Now, I'm just going to go ahead add in the pink color below the lilac color and blend in both together. It may take in a little while for you to get the Blending stripe, but make sure to go ahead understanding the techniques that we already discussed. Wherever you feel you need a little bit of white to Blending. You can go ahead use in white instead of avoiding in any muddy tones. You can see how I've taken the pink a little over the lighter violet tones and blended it well and just add it onto the edges as well. Now I'm just marking a clean pink line here because the rest of the bottom space is going to be a field space, which I will be going ahead with the green tones I'm giving in a very straight line. So two-thirds of our Paper is the sky and one-third is going to be a field space. Now for the field, you can go ahead with any green tones that you wish to work with. I am using in the sap green color from this set. And I'm going to add in a little tinge of the black color which is already on my palette, and mix it to the Clean to create a little darker green tone. You can directly use a darker green color if you have so in your palette. Now, using this green mix, I'm just going to add it completely as a base layer onto the entire whitespace that is remaining. If you want, you can go ahead with 22 shades off the greens as well. For the first-class project, I want to keep it pretty simple and easy to go with. I'm just using in green tones and I am just picking up little different tonal variations of the same green and adding it into the entire space. So now towards the top side you can see I'm using a little lighter consistency than what I've used towards the bottom side. Going in very carefully closer to the horizon line where the sky is ending. So as to add in the base layer for the field. I've just added a very simple base layer for the field and the sky first. So for the sky, we went ahead with two tones and for the field we went ahead with green tones. Now I'm just picking up a little of the lighter green, which is on my palette and giving him let him lighter shades as well into the field space. So very randomly I'm just adding in some lighter Strokes and blending it with the base layer. As I told you, you can go ahead with multiple tones of greens. And the field is such a natural space that you can have any greens on any place and it will still give in an actual look. Now we'll wait for all of these to dry first. So now my sky is completely dry it and I'm going to pick up a little of the white and mix it along with the violet and the pink tones to create lighter tones to begin adding in the Cloud details into the sky. Make sure that you begin adding in these details once your sky is completely dried in, I'm going to pick up the color in a little softer consistency so that it blends easily into the sky as well. I'm using a smallest size brush and just using the tip of the brush, I'm going to go ahead, add in simple Strokes into the sky to actin as the clouds. I'm going ahead with simple half see kind of Strokes closer to each other. So closer to the violet color. I'm going ahead with this lighter pink stroke. I've mixed in a little more off the white to the pink color to get this lighter consistency so that it's visible perfectly onto the violet color Strokes that we are adding onto. You can see I'm going ahead with very light strokes closer to each other and just creating little cloud effect. If at certain spaces you want, you can use a damp brush and blend these into the base layer as well. Whenever I'm lifting any color from the palette, I'm dabbing it onto a tall so that the excess paint is dropped off. Now I'm just using a damp brush and blending a few strokes into the base layer. You can see wherever I'm using a damp brush, the clouds are having a soft edge, yet a blended look, but still they are visible with the lighter tone that I'm adding on the top. Just the edges are looking blended into the base layer having a soft edge. Now similarly, I'm just adding in little cloud highlight towards the left side as well on the lighter purple tone that we've used it. I'm using in the pink mixed in with a little bit of white. So basically you have to use a little lighter tone then the already pink color that you use to in the sky so that it stands out onto the pink and the violet tones. You can see this color is standing out even on the pink tone because they've added a little white to this pink. Now, I have further added a little more white to get a little more lighter tone to add in little cloud effect onto the Ping space as well. Later on, I will go ahead using a damp brush and blend. These are little, so I'm just adding in little Strokes first. And then using a damp brush, I will just blend the edges into the base layer so that it has a little soft edge. You need to go with a very light hand adding in these Cloud details so that you do not activate the base layer. Remember you are working with quash, which is a reactivating medium. If you will, add in a lot of pressure that basically of colors will get activated and blending with the top layer colors that you are adding, creating in Third color forming rather than having in the cloud effect there. So make sure that you go ahead, add in these layers very soft handedly so that the base Leo's do not get activated and all the colors stay intact. So using a damp brush, I've blended the bigger clouds that I have added on the pink tone. And now I'm just going to add in little highlights onto the Ping space. You can see I'm not going ahead with a lot of highlights, just little highlights that I'm creating it on the right side. And after, We'll move on to the details into the class, feel less bad for this first day of the meadow. I'm going to keep the field very simple with just the Grass Strokes without any Florals. So closer to the horizon line, I'm just going ahead with little more details of the clouds. You can see I've been using simple Strokes, have see Strokes and little cloudy shapes to add in these Cloud details. I'm going in very soft, candidly and very slowly so that I do not overdo these. And after every step wherever I feel, I need to blend these clouds. I'm using a damp brush and blending in the edges well, now to the green color that I already have on my palette, I'm adding a little bit of the white and black color to get a little basal green color, which will stand out onto this darker green peace Leo that we already have. And using this mix of the green, I'm going to begin adding in this simple Grass talks. So I'm going to use the second type of Grass Strokes that we had discussed in the technique section. That's giving him very loose Grass Strokes will be adding a little offer leaf structure as well in-between. So far beginning, I'm just going ahead with loose strokes like these, moving in different angles. Make sure you use the smallest size brush. I'm using a brush which has a pointed tip, or I will shift into the liner brush if needed to get in much more thinner strokes so that I can get the details try. But through this Brushes, well, you can see I'm getting in very fine Strokes closer to each other to create in the grass effect. Now I'm not taking the height of the class completely till the horizon line, just in-between a few Grass Strokes. And I'm taking till the taller space till the horizon line. Rest of the Class Strokes you will see it's only in the two-thirds pays off the field area that we have mapped out. I'm going ahead very loosely with these Grass Strokes crisscross to each other, moving in different angles and directions altogether. Makes sure that you add them entangled into each other to give in that notch, to look, do not add in simple straight lines. Keep them till twist it turned around so that it has in that natural look. I'm almost done with the first layer of the class talks after this, as I told you, will be adding in a little off the leaf details in-between these Grass Strokes. We won't be adding in any Florals for the first two days. We'll just keep it pretty simple and easy to go. Now in-between you can see I'm adding in some of the Tico Grass Strokes, adding in some thick volume to these Grass by just dabbing in the Brush and also pressing the belly of the brush and lifting it once I'm satisfied with the land. So we are ready with the first player now for the Grass Strokes. Now to the photosphere of the Grass talk is drying around. I'm going to go ahead, add in a small mountain range onto the horizon line. For that, I'm going to use in the brown color which is already on my palette. It's a bond sienna color mixed in with a little bit of a yellow ocher color. And I'm just going to add in a very simple mountain range on the horizon line. I'm going to add a very smaller one. Does not add it to bag because we're just going to showing that this mountain range is quite far from the view In the center, I'm going to decrease the height of this mountain range further, you can see throughout the horizon line, I'm keeping the height of the mountain varied and not keeping it the same. I'm trying to vary the height and tried to make it look natural. In case if you want, you can add in two layers of the mountain by adding in, one with the brown tone and one with a darker brown or black color. Once the brown tone dries out. I'm done adding in the mountain range on the horizon line. I will just define it a little more well, so that it's ready. Now for the next layer of the leaves, I'm picking up the sap green color, mixing it with a lighter green color. You can go ahead mixing a little bit off your lighter green tone, or you can add in yellow to your sap green color to get a light green color. I am adding it a little bit of white to my already existing light green. Adding in a little bit of the sap green color to that to get a little lighter tone of the green than what I have previously used in for the Class, true. Now, using this color, I will add in little Grass talk highlight and then begin adding leaves with this color. So basically this is a lighter green mixed with a little bit of bytes so that it stands out opaque onto the darker spaces as well. You can mixing yellow along with your sap green color with a little bit of white and a little tint of black to get a similar color. In case if you already have a lighter green color, you can simply mixing a little tinge of sap, green and white to that to get a lighter green tone to begin adding in these Strokes, Grass Strokes, I'm going to add in very limited. Along with that, I'm going to begin adding in the leaf effect. Now, I'm going ahead with a mix of leaves with this lighter green mix, you can see it's standing out right onto the lighter green stroke that we already used in the first layer of the grass. So you need to have these two to three variations of the greens. Now I'm just taking a few Strokes about the mountain range and overlapping the mountain space as well. Just a few of them, not much dressed all of them you can see it's into the grass field space only. So basically we have used in so many different tones of greens in the base LEO, we used a very darker green mixed in with the black tone. Then we went ahead with a little bit of the white and the green. Then we went ahead with a further lighter green tone to add in for the highlighted space. Now in the center your, I'm taking one stroke a little into the sky as well. I will just shift into a little darker tinge to add in the village to this because the lighter one is not visible clearly into the sky like this. You can take one or two strokes into the sky as well to show the variations into the field as well. But not a lot of it. It's not necessarily to have the exact same green tones that I am using in. You can go ahead with your own combinations of the greens. This class is more about playing freely with whichever color tone is available with you. It's more about understanding that technique and going in with the concept rather than following the same color tones. Now I'm going to add in a small moon into the sky. So first created a very small white dot. Now using a damp brush, I will blend this into the sky beginning in from the edges. So I have removed the excess water now with a damp brush, I'm beginning to blend and create a glowing space into the sky. Once this dries out in the center, we will add in the moon space. So you can see I've created a dull whitespace. Now to the center of this, I'm adding a small so-called, which is acting the moon. And rest of this piece on the edge will begin acting as the growing space. Make sure that you have a beautiful looking glowing space. I'm just adding in little more white into the growing space first and then I will add in the moon space, you just need to use a damp brush and very gently blend the edges into the base Leo. So you will see the edges begin to have a very soft blended look with the base layer color of the sky. You need to go in very slowly and carefully with this. Otherwise, the edges be turnout sharp and entire base color may get activated, turning it into a paste violet color instead of this glowing whitespace. Using the white thick consistency, I will just add a small circle in the center to act as the moon. Around the moon. Now you can see a dull whitespace, which is automatically acting as the glowing light effect of the moon, which we have perfectly blended into the sky on the edges as well. So we are ready with our class project for day one already. Let's remove the masking tape. So as I told you that Masking Tape that you added last will go out first. So accordingly, go ahead, pull out all the four Masking Tape. Make sure you pull the masking tape against the paper so that it does not tear off the edges or lift up the colors. So you also closer. And the final look at our painting for DB, one of these ten days meadow challenge using gouache, you can see the beautiful glowing space of the moon and a pretty simple grass field that we have created. I hope you guys enjoyed painting this for the one. I will see you soon into the T2 Class Project 4. Day 2 - Sunset Meadow: Hello, everyone. Welcome back to date two. I already have my paper tape down, as you can see, and we are going to begin picking up the colors for the sky. This time for the sky, I'm going to use in the blue color, which is a sky blue pastel color, and this yellowish orange tone, which is a creamish yellowish orange color. So I'm going to pick up both of these colors. And in between for blending both of these colors, I'm going to use in the white color. So I will keep the white as well ready. I'm going to take a little of the colors on my palette as in when needed. I already have a little of both the colors on my palette, so I will only remove excess how much needed. Now, I'm just marking a rough horizon line this time, so it's going to be two third is going to be the sky, one third will be the field space. I'm going to begin with the blue color first. Okay. Now, as you can see, this is already a pastel blue color. But in case if you do not have one, you can simply mix in white along with your Cilian blue to get in a pastel blue color like this. At the top, I'm beginning in with a bold layer of this blue color. I'm going ahead with an opaque consistency of the color so that I do not see the underneath paper. Otherwise, quash pins will begin to act in as water colors. Now, next, I've picked up a little bit of the white color, and I'm beginning to add in the white underneath the blue and blending both of these. Now the reason to add in white in between here is because when the yellow orange and the blue may mix together, they may form in a little greenish tone, which I do not want in my sky. That is the reason I'm using a little bit of the white color in between. You can see it's a very light blue tint that's coming along with the white. Now, when I'll go ahead with the yellow orange color at the bottom space of this, you will see there will be no green tones forming in. I'm going to pick up this yellow orange tone and add it into the rest of the sky. Again, I will pick up a little white and then blend it with the top blue space. In case if you do not have this yellow orange color, you can simply mix in ermlion light yellow and a little bit of white to get this pastel yellowish orange tone. I have added it very carefully on the horizon line defining the horizon line well. Now I am going to clean my brush pgin white and then begin blending both of these at the top space. Make sure you lift up white in between for blending, only then you will get a smooth transition. Now you will see the lighter yellow orange going towards the blue site creating in the perfect transition from the darker tones towards the lighter tones at the bottom space. Very carefully, you can see, I'm just blending the sky and getting in a good transition into the sky. For clouds this time as well, we are going to go in with simple strokes just as the day one. For now, let's begin with the base layer for the field. We are going to go ahead with the green tones. Now again, here you can go ahead with any green tones that you wish to. You are free to use in lighter whichever tones you wish to. I'm going ahead with a bit of the light green color towards the left side. Now, picking up a little of the yellow occur towards the right side, and then I will move on to the darker green and the brown tones. Using a little off the burnt umber color, which is already on my palette and adding it towards the right side. Basically, you can see I'm just going ahead with random field tones here and blending them all in to get in effects. Now, in the rest of the bottom space, I'm just going to go ahead with this darker green color. If you want, you can mix in a little bit of your black to your sap green color to get a little dark green color, and I will blend all of these layers well with each other. This time, also for the field, we are going to go ahead with very simple leaf details. We won't be going ahead with florals for this class project as well. From the next class project, we'll begin adding in florals as well to our paintings. Now, using a dam brush or the base layer colors, you can just go ahead and blend all of these well into each other so that you have the perfect transition instead of having in patches of the color. So you can see I'm just lifting a dam brush and blending the lighter green with the darker green, the yellow ca with the green, the browns with the yellow c and the greens, as well as I'm adding greener tones onto the edges on both the left and the right side at the top spaces. That is how you can create in little natural effect into your field spaces by blending the colors into each other. You can either use damp rashes or you can use the base layer lighter or darker tones to get the transitions. Now let's wait for this to dry completely. Now, my sky is completely dried, so I'm going to go ahead, add in a mountain range on top of the horizon line. For that, I'm going to use the same burns the burnt umber color, whichever you wish to use in, and I'm just going to begin adding in a mountain range on top of the horizon line just about the field space. So I've just lifted a medium round tone, and I'm going to begin adding in on top a the horizon line here. And again, here you can see, I'm going in with a very rough shape of the mountain. In the previous class project, the mountain range was of a very smaller height. This time, I'm going ahead with a broader mountain range. I'm going to show in a sunset effect behind this mountain range. So I'm going to show a setting sun this time behind the mountains. Now, to the brown, I'm just mixing in a little tint of the black color, and I'll add little darker effects to some of the mountain range on the right side because you can see blending in with the yellow. It's turning a little lighter, so I just want to give in a little darker effect. So now you can see it's looking kind of two mountain ranges front and back as well. Make sure that your sky is completely dried only then you add in this mountain range. Otherwise, the base layer colors begin to get activated. Also, you need to be sure that you do not add in a lot of pressure while adding in the layerings. Otherwise, the base layer colors gets activated again because this is water based quash, and they get reactivated easily with water. Now, next, I'm going to lift up a little bit of the black color or you can pick up a very dark green tone, and I will begin adding in little effects into the field. So I'm going to add in little stones kind of a detail into the field space. So using a smaller size round brush and the black color. I'm just going to create little patches of the black on the greens here. I'm going to go ahead very roughly and naturally to create a natural looking effect. I'm not going to add a lot of it at one space. I'm just going to show in some rocky or muddy effect into the field space like this. You can see I'm working in very loosely and creating in this effect. Now, similarly, I'm going to go with a little of this effect onto the left side as well. You can see I'm going ahead very roughly. Now, I'll directly take you to the leaf part of this painting. So I've quickly added in the first two kind of leaf effect that we had seen during the technique section. So I'm just going to go ahead, add in little more layers on top of this. So I've basically used in different tones of green. I will just show you on a rough piece of paper as well, the different strokes for the leaves that I've used. Basically, the simple one stroke leaf that I thought you in the technique and the simple grass strokes. I have just used in two to three different green tones to add in this effect. Okay. So a two minute clip of this could not be recorded. That is the reason I'm showing you again in a rough sheet wherein I can show you the kind of strokes that I've used in. It's just simple strokes of the leaves that I've used in like this that we discussed in the technique section. You can see and I've used in the simple grass strokes that we discussed in the technique section. The only thing I've used it only at the bottom of the field, as you can see. Plus, I have only chosen in different green tones. As I told you, you are free to choose in your green tones, whichever go perfect with your color combination, as well as which are available in your palette. For overlapping, always remember, let the first layer be dried completely and then go ahead with a second layer. Do not rush with two layers together. Basically, only these simple strokes that are used in here in the field space after adding in those black rock details, you can see they are there on both the left and the right side. Now I'm going to squeeze out a little bit of a fresh black color. I've just lifted a little of the black color, and I'm going to go ahead with a little more details into the mountain range. I'm just going ahead with one more layer of the mountain, as you can see in front of the brown mountain range. I'm using a bold black color. My first layer of the mountain range is completely tried. I'm not adding in a lot of pressure onto this one. I'm going very light handedly so that the brown layer does not get reactivated and mix in with black giving in a darker brown tone instead of the black tone. So going in very lose here to create in this second mountain range. So done adding in the second mountain range. Now let's move on to the details into the sky. So for the sky, first let's begin with the cloud details. So it's the same strokes that we used in the first class project. I'm going to go with the same strokes using in a smaller size round brush. So I've picked up the yellow orange color without any white, and I'm just beginning to add in smaller strokes. I'm just taping off the excess paint which I felt was on my brush onto a cloth. You can either use a tissue or a cloth tile, whichever you find convenient. Now I'm just using the tip of the brush, and you can see I'm adding in very simple strokes. My hand is moving very light handedly. I'm not adding in any pressure. Now using a dam brush, I'm just going to run it towards the edges of these so as to blend it into the base layer. You can see I'm just dipping my brush into water and using this dam brush on the edges to blend it into the base layer of the sky so that it has a blended cloud effect. Now, similarly, I'm just going to go ahead, add in little of the strokes here as well. Then we'll move on to little of the blue strokes as well and then add in the setting sun effect. We're almost through the field space. It was again, a simple leafy field space that we were painting. This time we did a little difference in the base layer of the field. We used in two to three different color tones. Then we added different mountain ranges, and this time, instead of the moon, we are going to have a setting sun effect. Now, to the yellow orange color, I've just mixed in a little bit of the white color to get one cone lighter effect. And now using this lighter color, I will begin adding in little highlights as well. You can see the movement of my brush. I'm moving it in half s strokes, a little curvy strokes and very small strokes closer to each other to create a cluster. And then quickly using in damp brush, I'm blending these strokes into the base layer so as to create a very well blended effect of the tones into the sky. Now I'm using the blue color, and I'm beginning to add in this blue color stroke over the yellow color. Now to the blue as well, I've just added very little tinge of white so that you do not have any green tones. Go in very light handedly with the blue over the yellow as well so that the yellow color in the bat does not get activated. Closer to the mountain range, go in very carefully if you're adding the cloud effect completely till the mountain range. So the same way as I was adding in the cloud effect using in the yellow orange color over the blue tones. Same way I'm using the blue tone over the yellow orange color here to create in the cloud effect into the sky over the yellow spaces closer to the mountain range. You can see I'm trying to use in different shapes of these clouds. I'm not adding them in the regular cloud shape. These strokes, also, I'm not adding them just in a simple pattern something. You can see I'm just trying to vary them every space so as to make it look natural. If you ever observe the sky, you will see the clouds are all in different patterns moving in different directions. Now I've picked up a little of the orange mixed in with white to add in little highlights with the yellow orangish color onto the yellow tones along with the blue color tones. Now, using a little darker blue tint, I'm just picking to add in little cloud effects closer to the blue color as well. So I've just picked up a little of the blue added a little tint of a darker blue. You can add in a little tint of the pc or the cellin blue, whichever you feel right. Or if you directly have a cellin blue, you can just use it one to then the baser sky color and add in little highlights over to the blue tone as well. Now, again, if you do not want to use a darker tone, you can turn it one to further lighter than the basier sky color. On the right side here, you can see I've added a little more of the white and turned it into a lighter tone than the basier color. Now using a damp brush, I'm just going to blend it on the edges into the sky and create this lighter cloud effect at the top space. That is it for the cloud effects as well into the sky, pretty simple one, simple strokes, just blending and going in smoothly and with very low pressure on the brush. Now let's begin creating in the sunset effect. For that, I'm going to use in this orange color. I'm just going to pick up a little of the orange color onto my palette, and we'll begin adding in the detail. Now, for adding in this sunset effect, go in very slowly. Just as we created in the glowing space for the moon, we are going to create a glowing space for the sun as well. So I'm first going ahead, adding in a small orange color circle. Now, using a dam brush, I will blend this into the background and create a glowing space. Onto the edges, I'm beginning to run in with the dam bruh. You can see the circle is turning larger. It's going. It's having a dull look. It's blending in with the paste layer. I'm going to pick up a little more tint of the orange color, add in and keep on blending. If you want, you can even pull out little strokes to show in the sunset effect and the moving light of the sun. Now, the most important thing here is that your edges should be very well blended into the sky. They should not stand out sharp. You can see on the edges, the orange color. I'm just going ahead with a dam rush, blending it perfectly into the base layer of the sky so that we do not have that dull space looking separately. Now, I'm just pulling out a little strokes towards the outside as well, trying to show a little of the Sunday of an effect. With a dam rush, I'm just moving that around. Now in the center, you can see slowly I'm beginning to form in a little darker orange space, which is going to be the actual sunset area. Now, I've just added a little orange yellow tint, and I'm just going to blend all of these again and turn it, you know, a little more glowing space before we add in the final sun effect. You can see it's a little tedious task to get the glowing space right because the glowing space edges, you want them to be soft and blended into the sky. You do not want them to stand out as you know, very rough edge circle. So it's very important to go ahead very carefully and build in this glowing space with soft edges. Okay. Now, finally, to the center of this, I'm going to add in a bold orange circle, which will act in as the sunset effect. You can see the entire light orange space that we created around this is looking as the sunlight effect falling onto the top of around it, creating in that perfect sunset kind of an effect. M. So I'm finally done adding in the sun as well. You can see how pretty this is turned out, and especially the glowing effect around it is making it look as the perfect sunset effect. So now let's peel off the masking tape. Go ahead very carefully. You can see I pulled it towards the paper side, so the paper began to tear off. I will pull it very carefully against the paper, and you can see I could manage to just handle it well towards the left side. I will just give it a little correction with the purple tone because I pulled it towards the wrong side. So it's very important to pull the masking tape very carefully and that your paper isn't wet and the edges are completely dried. That's why it's very important. So here's the final look at the painting for day two. You can see the glowing effect of the sun, the very well blended edges of that glowing sunset effect into the sky. I hope you guys enjoy painting this day two with me, a beautiful sunset meadow with very simple details, but something new to learn, something new to create. Okay. Thank you so much for joining me. I'll see you guys soon into the Day three class project till then, make sure to upload your class project and drop a review. Okay. 5. Day 3 - Tulip Meadow: Hello everyone. Welcome back to T3. After ten days Meadow Painting Class. Today we are going to be painting a beautiful sunset Tulip Meadow for the sky. The two colors that I'm going to use in is going to be the three and the yellow, orange color. Now for the gray color, you can just mixed in a little tint of lack and a little tint of blue to your white color. For this yellowish orange color, or a deep yellow color, you can either mixing yellow, orange, and white. You can simply mix in a little bit of dark yellow with a little tint of fight. Now both of these colors are in a little pasty consistency, but still in Blending of both of these, I will be using white in-between. I'm beginning with this light gray color at the top space. I'm using the color in a bowl consistency. I've just lifted a little of the color from the jar onto my palette so that I can spread it across smoothly. We haven't been doing much Pencil sketch for this class until now. And even in the future, projects will have very minimal pencil sketch. So now I'm going to pick up a little tint of white with a very little tint of the brown color, Justin, top of fight, and begin adding it in the center space and blend it along with the gray cover. Now, when you will add in the deep yellow color just below this brown, you will have a little orange-ish transition into the sky, creating in a pretty Sunset effect. I'm just blending in both the colors very smoothly. You can see with the help of the white color, blend go in very smooth without any sharp edges or unevenness. Now using the yellow, orange color, I'm just beginning to add it below the brown and white tones that we've added. This Class Project as well. To start off, our paper is going to be the sky and one-third is going to be the field space. So I'm just going ahead with a yellow tint and I will define the horizon line as well soon. But I'm just going to use the yellow color and blend it all. Now I have a little of the reddish orange color already on my palette, which I'm using below the yellow color. You can mixing a little tint of red, white and orange and get this reddish orange color and blend it with a yellow. You can see this is giving a beautiful sunset hue and it's having in the warm tones of red and orange forth. So this is going to be at our horizon line here. Now using this color only you can see I'm trying to define the horizon line, taking this color into a straight line, your, the rest of the bottom space is going to be the field space where we will be Painting very simple tulips and adding in the greenery spaces. So far the base layer of the field and picking up a little of the sap green color. And I'm just going to blend it with a little bit of the black on my palette here and just add a very basic, basically a color of this greenish dark color into the entire bottom field space. You're also, if you want, you can go ahead with multiple tones of green into your base layer. I'm adding in a little tense of brown as well onto the edges. And now I'll pick up a little more off the darker green tint additive to the rest of this piece and blend this all suggest in-between. You can see I've added in literalistic brown patches to create little drama into the base layer of the field. If you want, you can avoid this step as bad. Because later on we'll still be adding in a lot of color variations into our feel. Now at the rise in line going very carefully define the horizon line well so that you do not run into the sky. This is just the base layer for the field will be adding a lot of Florida that in most of these green colors will get hidden up. So do not worry, even if you have little white caps left in-between, it will get easily covered up when you begin adding in the two lips. Now I will just pick up a little of the brown tint and add it onto the edges of the field here and blend in a little Any simply just very little effect Blending in these brown on the edges along with the green color. Now my sky is completely dried, so I'll go ahead adding in little cloud details into the sky. For that, I'm mixing in White along with the deep yellow color that I used in the sky and creating in a lighter pastel yellow color, I will begin adding in the details into the sky. So quickly mix both of these colors on my palette. That's the deep yellowish orange color, along with a little tent of fight. And go ahead adding very simple clouds. The process for the clouds is going to be the same, going in with simple Strokes closer to each other. And then using a damp brush blending in a little of these edges of the clouds into the base layer of the sky. Right now, you can see I'm just adding in very small Strokes. Make sure you do not lift up a lot of color altogether. Otherwise, you'll get in bigger patches of the colors. Pick up little Colors path by path, so that you haven't smallest Strokes and you do not lay down a lot of color at one specific place. Also be a little careful. The field area is still wet. If you lay your hand onto the field, that colors will get lifted. So that is the reason I'm trying to maintain a little distance from the field and my hand and going ahead carefully adding in the sky space. If you want, you can wait for your field to dry as well, and then beginning with the Cloud detail into the sky. So using this yellow and white mix, I've added in a diagonal line of cloud effect into the sky. Now using the damp brush, I will quickly begin blending this into the base layer. I've just blend it a little of these clouds into the base layer. Now I'm going ahead with a little more details of the clouds into the top area of this guy. You can see I'm dabbing my brush onto the plot. So that takes us paints on my brush are put in there and I do not play excess paints. I'm going ahead with better limited colors, blending them into the base layer as well very carefully. Using a little yellowish orange color here without adding any White, I'm adding a little patch as a cloud and now using a damp brush and a little tent of fight, I'll blend this into the base layer and create a little cloudy, yellowish effect into the gray area of the sky. Using the damp brush you can see I'm just running on the edges, smoothing out the edges, Blending it into the sky, creating a jumbo Cloud onto the gray space of our sky. One important thing to keep in mind whenever you are Blending the edges using a damp brush to not add in a lot of pressure. Because if you will add a lot of pressure that basically are colors will get activated, then both the colors may mixing together and you will not get into soft edge loop. You may at times even getting muddy tones if the colors do not go well with each other. So it's very important to keep your hand very light handed when Blending Acrylics layer on Laos, Sorry, Blending gouache layers on layers so that the Fazio does not get activated creating in a problem. Now I'm going to add in a small white spot and create a glowing space out of this and keep it there. Later on, we'll add the details into this aspect. In the last two Class Project, we have just been adding a very simple flowing space got for this Class Project, I'm going to go ahead create and little trees of this glowing space to show a setting sun effect. So just created a very rough fight patch with some ways, as you can see, will add the details on this. Once this dries out or settles in a bit, you can create trees in any form, any angles as you wish to. I'm just adding in little more of the white to create little more brightness into this glowing effect. Now, using the tip of the brush, I'm just pulling out little of these rays into the sky space like this to create that glowing effect will be adding in the details sun look onto this once this dries out. So this is just the base layer that we are preparing to add it. Now using intellectual of the pistol orange color, I'm just going to add it a little into the center space here to create a sun effect. Very simple, small sun in the center of the growing space. Now using this Detailer Brush, you can see the fine tip. I'm going to pull out little of these orange trees as well. Be very careful by pulling this out. I'm pulling it from the center towards the outside side. And just pulling out very small raise as compared to the white length. You need to make sure that it does not go an extra long as compared to the White growing space that you've created in the background. Now, let's move on to the field. For the field, I'm going to beginning with the pink color for the tulips. So I have this magenta pink color and I'm just going to pick up this color and put it out onto my palette. You can see it's already a pastel pink color. Now for the Florals, you need two to three different variations of this color. For the first layer, I'm adding it a lot of white to this pink still. It's already a pastel pink you can see. And to that as well, I'm further adding in little more of the white color to create a lighter color for the base layer. Now I did not discuss this flower in detail in the technique section. So I'm just going to give you a quick way to add it. Firstly, closer to the horizon line, we are going to add in a bunch of flowers which are not clearly visible to us. So it's just going to be very simple patch of the color. Suggest using a size five and a size six brush using in the Tape and the calendar bowl consistency just keep dabbing small oval shapes like these to make them look as Florals in the distance, which look like a cluster altogether. Now the reason that I'm leaving space in between these is because I'm going to use different color variations to fill in-between these two, add a little more effect. Now as I'm moving closer towards the bottom side, I will begin increasing a little proportion of these Florals to make them much more closer to our view. Now, make sure with this you do not add a lot of pressure. Otherwise, you will see that the green calendar basically begins to get activated. Also, you need to make sure that this color does not have a lot of photo. Otherwise, it will not dry, opaque and it will not give you that bold look. Now as I'm moving further towards the bottom side, you can see I'm increasing the length of these Florals. You can take a little off the Florals overlapping the horizon line as well, which I will be doing with the next layer of colors as well. For now, we're just beginning in with the simpler ones closer to the horizons line, you can see very simple patches that you've added to actin as the distance Florida. Now let's move on to a little bit of the green tones. So I already have a lighter green mixture on my palette. It's the light green mixed in with a little tint of sap green and the white color. As I told you, you can go ahead with any green tone that's available in your palette or that you wish to create. You can create very different green tones using in a little tinge of blue, black, brown, mixing in with your green color to get in different tonal variations of the green tones. Now, I'm beginning to add in very simple ones talk leaves out here. Then on top of this will be adding in the closer Tulip effect. You can see this time I'm going ahead with very bigger leaves and the thicker ones. But again, these are kind of one stock. I begin with a pointed tip, press the value of the brush and lift up wherever I'm satisfied. I'm going ahead with a lighter consistency of the green as you can see. So I will quickly add analysts love these leaves into the bottom spaces. You can see I'm going in different angles of the leaves, not keeping them all in straight angle and killed creating different kinds of punches together. Now using this little different green tone, I will begin adding in a few more leaves with this different green color variation. It's a mix of this sap green, white, and black color. You can create, again, any green tone that you want and using your to add in the details Now very light handedly, you can see I'm overlapping a little of these leaves as well onto each other. Most important thing again, you're, is that you need to keep your hand very light handedly. If you will, add in a lot of pressure that basically a green color will get activated. And both the leaf colors will mix into each other. Instead of having a distinctive look, I'm just adding in random small leaves us where we are still left to add in the main focus tulips at the bottom of the field. Now to this pistol pink, I'm just adding in a little tinge of the red that's on my palette to get a little darker color. And I will begin adding in little of this darker strokes into the spaces that I've left out you to create in the next layer of details of the tulips at a far off. So basically in this to the horizon line view, you are just going to have in a batch detail of different tones of the pink to make it look like a Tulip field, which is very far from your view because it fits. You can only see a pink color patch. So you can see the different tones of pink closer to each other. Those are visible you now I'm adding in a lot of white to the pink and I'll begin adding in the main tulips. So make sure this is a very light color for the base layer. I've just added in to leave kind of details very close and stuck to each other. In the center, there is a little tripping point, kind of a heart shape with a little circular at the bottom. So this is the first layer for the tulips that I'm adding. Now, these tulips that I'm adding are very close to our view. That is the reason we are going to add little details on top of this. Make sure you use this color in a very bold consistency. Do not add a lot of water. Make sure the color is thick enough only then it will stand out visibly and gold onto the green spaces. Onto this, we're going to add in some Strokes using in the darker tones to make it look like a tulip. Now, very randomly you can see I'm adding in these bigger tulips. We'll even add one or two onto the entire pink patch that we've added. You're at the top to make a few tulips overpowering or covering the background species. So I'm just adding in this false veer off the two lips, as you can see, after you add in this thick layer of the tulips, make sure that these layers are completely dried. Only then adding the Strokes that will be adding in for detailing. Otherwise, the colors will get mixed up and you will not get a little distinctive low. So you can see I've just added in a few tulips urine there. Now I'm just going to pick up a little of the green stores and add a little leafy effect inbetween at the top spaces you are as well. Just very little detail. And again, I will overlap it with a little hint of pink trying to show in little leaves Asbell in-between. Now I'll wait for this tulips to dry completely and then move on to the next layer of details. Now my tulips are completely dried and I'm going to beginning with the detailing on top of this now 40 dealing. I'm going to use a liner brush and I'm going to pick up a little of the crimson color and mix it along with the thing tone to get a boulder pink color. And then begin adding in the Strokes Now for adding in the detail, make sure you use a brush which has a pointed tip so that you can get in the fine strokes on top of the Tulip. So now onto this lighter layer, you can see I'm just adding in some Strokes, creating in the details onto the floor. So basically you can just add in three Strokes analytical at the top space to give him the detail to these two lifts. You are, as you can see, I'm just adding in little details at the top, in the center and both the edges creating a little depth into the tulips. So simply just adding in very simple details. We're not going into the detail Florals out. You're just as simple ones to create in debt. Now if you want using this reddish pink color as well, you can add in little of the Tulip details to create little depth at certain places and give a little more color dimension. Now to this pinkish red tone I have just added in a little bit of fight and created a reddish light pink, white tone that I'm using to add in little more detail into the field, which is far of view. Now you can see two to three different pink tones in the fire of view. And the Florals that we've added in a little detail, banners so much closer. Using this, I'm just going to add in little more Florals at the bottom space to create a little more depth. So you can go in the reverse manner as Pen adding in the dark obese, then using in a lighter color on top of it to give him little Strokes. You can use a mix-and-match of Puerto patterns to add in the details so that you can get a little more depth into your field, making it look natural. If you have a photo or a reference, you will see in our Florals feel the color variations are endless. Each flower will vary from the other ones. Some may have lighter Strokes and may have darker strokes. The beauty of the entire field is going very loosely with whichever color you wish to, using in different tonal variations of the color to create the depth. Now using in the white color, I'm just adding a little space out your For the sun effect. We've already added orange highlighted in the background. Now again, I'm just going to blend it into the Bezier. Hello, these strokes to create the depth. And now finally to the center of this, I will just add a very small so-called to actin as the setting sun, if you wish, you can use a lighter orange color as well. But since I've given the glowing light effect with the orange color in the background of this. I'm not going with the orange color, you rather I'm adding the sun effect with the white color only. Now using appointed to Pen, all using in the black color with a very tiny brush, you can add in a few buds into the sky. So I'm going to use my technical pen size 0.3 to add endless love the boards into the sky. You can see I'm adding very tiny birds and just trying to show them in different flying or fleet motions. I've even added a few closer to the horizon line using a little thicker brush. That's the 0.5 nib brush. I'm just going to add in little ball boards effect as well. Not much of them you can see, be very careful. You can see I just laid by hand onto a wet Florida. So you need to be very careful or you can simply just tilt your paper or the books so as to make it convenience by your hand as bad. So just adding in some simple or bought details as you can see. Now. Lastly, using in a brownish black color, I'm just adding a very fine mountain range on the horizon line. It's a very fine, small one as you can see. So moving to the center, I've taken it very fine and just ended it almost towards the center right side. Now let's removing the masking tape, going very carefully. Always pull the masking tape against the papers you can see and make sure that your edges are dry before you pull them. Otherwise, it will lift up the colors and tear off the pages as well. You also close up view at our Tulip feel you can see the small boats, the Cloud details, the sun details the tulips, the detailed tulips, the leap effect. I hope you guys enjoyed painting this pretty simple Tulip field with me today. I will see you guys soon into the day for class project 6. Day 4 - Grass Field: Hello everyone. Welcome back to day four of the ten days Meadow Painting Class. Today we're going to go with yet another simple Field. We, I'm going to be using in the violet color, along with a complimentary color that's going to be the orange color. Now these two colors to not go well with each other. So we'll be using white in-between for Blending these. I'm using the yellow, orange, cream tone. You can simply mixing orange, yellow and a little tend to fight to get a yellowish orange tint. I'll beginning with the violet color at the top. I'm not going ahead with any pencil sketch. Again, it's going to be a pretty simple Grass Field that will be Painting. I have just picked up a little bit of the violet color on my palette and I'm going to keep the white color ideas better and pick up a little white, mix it with the violet if you want, you can directly use a paste or violet tone if that's available with you. At the top, I'm beginning in with this violet and Vitamix tone. Then I'm Photo going to use invite below this violet color mix that we are lying already and blend in with a violet color. And then later on shift into the yellow, orange color that we are going to be using in now using the white your, I'm blending it with the violet and getting a further lighter violet tone. Even when I'll begin in Blending the yellow, orange tone, I will use in more of fight that time as well so as to avoid them or the tone, the technique section, we already saw the blending of these two colors and how they create a muddy, brownish tone in-between, if blend it together without the help of a white color. Now I'm first going to lay down a layer of this yellow, orange color and then using White and blend these two, again, two third of my paper is going to be the sky space and one-third will be the field space later on. Now again, using in the White, I'm beginning to blend both of these at this meeting point again and creating a smoother transition from the violet to the orange and orange to the violet. You can see we do not have any muddy tones formed in between. We have a gradual smooth transition from lighter to darker tones. And with the lighter tones blending in-between easily. We have done with the base here of the sky. Now I'm going to pick up the green tones and begin adding in the base layer for the field as well. This time we are going to go with a simple leafy Field. Again, if you want, you can add in any kind of Florals to this as well. But this time I'm going to go ahead with a little different and detailed kind of a leaf space that will be adding in basically the grass area. I'm mixing in the sap green along with a little bit off the light green color. And using this lighter tone, I'm going to give him the base layer completely for the field space. Again, you can go ahead with a darker basically or if you want whichever green tones you want to play along with. So in the entire bottom space, I'm just giving in one flat layer. Make sure you do not add a lot of water, otherwise you can see it will not stay open. Right now, my layer, you can see it's opaque. The base Paper White is not visible. It's an opaque thick layer on the field that I've added it. Now defining in the horizon line well with the green tone, no matter, will still be going ahead and creating in little bush effect at the top as well. So even if you do not have a straight line at the horizon line, It's perfectly okay. We'll, as it is, be covering it up. Now using in the brown tones, I'm just giving little darker depth on the edges and in the center I will keep it a little towards the lighter side. So I've just lifted the brown tones and began adding it from the edges, blending it with the green tones that's already there. Now let's wait for these base layer to dry out completely then move ahead further Now my base here of the sky is completely dry, so I'll begin adding in the Cloud details for that, I have picked up the yellow, orange color mixed in with a little bit more of the white to get a little lighter tint. I have tapped off the excess paint from my brush so that I do not lay excess paint over here. I'm going ahead very casually, very lightly. I'm not adding in a lot of pressure to the Brush. I'm going in very smoothly just laying my hands giving in the Cloud details. I'm using a size two round brush which has a pointed tip. And very gently, I'm just adding in very light strokes, light handed Strokes. And at certain places using a damp brush, I will just blend the edges into the base layer of the sky. Now you can see with this lighter tone, I can even create me to cloud effect onto the violet color without having any muddy tones because we already have a white tone. Make sure you're also, you do not add a lot of pressure. Otherwise the basically you will get activated because we're working with Gouache and this is a water-soluble and water reactivated medium. So even if you want to reactivate your base layer and if you run a wet brush over the dried paints, it will be deactivated. So you need to go in a little carefully while adding the layering details with Gouache. Otherwise, the base us, we get activated and you may get in third muddy tones that you may not want in certain places. Now in the same V, I'm just creating a very light violet tone and I will begin adding in little cloud effect over the orange spaces. Again, you're also, I'm going to go in with a very light hand. Firstly, at the horizon line, I'm creating in a cloud shape with the help of this violet color. I'm going to further lightened APA color a bit and go ahead and clear two to three color variations into this cloud space. So you can create two to three different tonal variations of the violet color to create in the depth into the clouds at the bottom space here. In the same way, I'm going to add one more cloud out here. Now you can see I'm going ahead with a different shape this time. I'm going very loosely as well as I'm not adding a lot of pressure. So you can see my base layer is not getting activated. The violet is visible nucleoli even on the orange tone, without forming in any brown tones. Now very light handed here, I've just given little more strokes with a violet color over the yellow, orange piece. It's the same Strokes for the clouds that we are gradually falling in each of the Class process. It's just that, you know, the placement of these clouds or the movement of these clouds are different in each of the Class Project, as well as in this one, we've added a little cloud shaped one as well. In the forthcoming class project, we even even be creating in cotton candy clouds, going step-by-step, learning more in details to blend the colors as well easily. So you can see I'm majorly Blending all of these clouds with lighter colors and using the damp brush so that they do not have very sharp edge. I like a little blended look off the clouds. But in case if you're someone who prefers bowl look, you can skip the Blending part. So be ready with the sky. Now let's move on to the field space. For that, I'm going to move on to this spoiled shown Brush. I'm not going to dip it into water. I'm directly going to pick up the veins. I have already discussed this in a technique section where when we discussed the, you know, foliage details and the first method that we discussed using in this spoiled Round brush. So I'm just going to pick up the green color directly and begin adding in that detail. Now if you want, you can create two to three different color variations of the green color by adding in black to your green. Or you can add in blue or brown, still green to get in different tones of the green color So the most important thing for this technique is that your brush should be damped, you're paying, shouldn't have excess water. You need to try to hold your brush perpendicular by beginning to create in this dabbing technique. Plus your brush should not have excess paint as well. Because if it will have an excess paints also, it will be very difficult to achieve this. You may begin getting in patches of the color instead of this dry brush kind of an effect for the Grass TO. Now you can see this Grass took, I'm covering a little off the horizon line to make it look uneven so that it gives in a natural look and does not have that straight horizon line look. So in the entire field space, I'm going ahead with this first clear, as you can see, later on, I will go ahead with different color variations and adding little more of the, you know, different green tones, a leaf effect as well. So I've easily created in the base layer, you can see it's beginning to look like a greenery Field space with very minimal effort, you could just add in the entire layer just using a spoiled Brush. Now, I'll go ahead with this lighter green color and begin adding in the second layer with a lighter green tone. Now with this second layer of the lighter green color, I have to go ahead and such a way that I do not cover up the entire basically are that we added in force. So I'm going to add this a little scattered so that we have the BCL green tone also visible. You need to make sure that you have all the green tones visible around. You can see I'm adding them in a lot scattered. We're not covering up the entire base piece. I'm just trying to get in more color variations into the field here. So you can see this begins to look in so much nutshell, as well as giving in that you don't feel Space loop because of the different tones of greens and giving in that natural Grass kind effect using injustice Gouache brush. Now I'm going to pick up little of the white mixing with the green, create a for the different variation of the green. Because so as to, you know, I didn't little leafy details as well to this. So I have mixed in sap green, light green, white, and black to get this olive green color. Now again, you are free to experiment with different tones of greens. You can adjust the variations of the green tones with the help of white, yellow, blue, brown, and black tone. So, you know, various greens can be created using in the mixes of these colors in different proportions. It's absolutely your trial and error that you need to go ahead and see what green color to do the best. Now very simply, you can see I'm just beginning to add in little off the Grass kind of details here. And I'm using a different tonal variation of a green which will be visible on the base layers as well. And you can see I'm just adding these Grass details in the low-lying spaces. I'm not going overboard till the top speed. I'm going to use in the mix of all the different tones of the different styles of grasses that we discussed in the technique section. And use them all here together to create in the bottom base layer effect Now just beginning to add in some simple ones talked leaves that we discussed as well and creating in the details here. So you can see, I'm going ahead with these leaves in different directions. I'm not going overboard with these leaves as well. At certain places I'm just taking the Grass is a little taller, giving in a little depth, taking some of them a little more towards the horizon line, but majorly have kept the Grass effective the bottom space, not taking it too much till the top space, as you can see. Now next time mixing in the violet, White and the black color to get a grayish violet color to add in a poll, effect into this field space. So that is going to be a little add-on silicate. But I'm creating in this gray colors, you can see violet, white, and black so that we can show the effect of the sky falling in your on to the poll that we are adding in. So it's very important to mixing and deflect the sky color effect shadow falling onto these little, little details that we added. So I've just added a poll on to the right side here. And I'm going to add in little off the wire lines for that I'm going to use in a technical pen. If you want, you can use a very fine tip brush and a black color to add in that as well. I'm going to go ahead and using my pen later on. I'm just giving in a little more detail defined look to this pole first before moving ahead further. Now I'm using the 0.1 technical pen. I'm going to go ahead very carefully adding a few wireline DTS. Now, make sure your pen may stop in between because of the thick layers of paint. So you can just run it again onto a rough paper and then reuse it again. So at times I, you know, in-between automatically the ink may stop coming in and just dropping it onto a rough paper again, it works perfectly fine. Again. Shifted to another same size. As I told you. You can even go ahead and using the black color and a very fine tip liner brush in one of the Class Projects, I'll even be using that. I'm trying to show you how to add in with that as well. Now, into this one, if you want, you can add in more polls, more white lines as well. I'm going to add a few more moving the head further. But for now let's go in step-by-step. Now, let's add in a little bit of the details onto the poles as well. So I'm just going to go ahead quickly pick up the black color and adding little variations. I just added in a little white highlight as well on the poll. If you can see. Now onto the white lines, I'm just giving it a little off towards or knob details which are there. So very small and tiny ones that I'm giving it. So you need to make sure that you use either a smallest size brush on a smaller Detailer thing to add in these details swiftly. Now to make it look like the poll is perfectly coming out from the field space. I'm just going to go ahead with a little more off the green tones or onto the poll space as Pen. So just a little bit of the overlapping and you can see the poll is looking as if it is perfectly coming in from the bottom Field space. Now I will quickly use a 0.5 nib pen and adding a little bird details as well into the sky. After which, I'll just go ahead and add in a small moon in Britain between the violence that we've added in. So let's quickly and swiftly adding these bullets. If you want, you can even use in a Black Pen your as well, or a black color as per your convenience. Now using in the right color, I'm just beginning to add in a small moon into the center of these white lines. I'm trying to show us the moon in-between the wires Huo to create in that depth. So as always, force creating in the glowing space for the moon. And then I'll add in the wound to the center of this so you can see across the moon space. Around the moon space you have that glowing light effect trying to show in the light of the moon falling on the outside. And then to the center of this I'm going to swiftly just adding the moon. So just added the moon to the center of this and you can see the effect of the glowing light space that is being created. So that is it we are ready with another Pretty simple Sunset Field. Let's remove in the Masking Tape, remove it very carefully because if you are painting on both sides of the paper, you need to be a little more careful so that you do not tear off the other edge as well. And always remove it against the paper so that you do not lift up the paints. I have a small white cap you, which I will swiftly cover with a violet color and give it a finished line loop. So that is it. We are ready with our class project for day four of these 10-day Meadow Painting Class. I hope you guys enjoyed painting this pretty simple Meadow Field with me today. You can see the Grass detail looks so lively and saw real with just simple techniques. I hope you guys enjoyed painting this. And if so, make sure to drop me a review so that it can help me reach maximum students. I will see you guys soon into the day five Class Project 7. Day 5 - Pink Sunset Daisy Field: Hello everyone. Welcome back to day five of the ten day middle class. Today I'm just beginning in with a very basic pencil sketch before we move on to painting today's middle. So today we are going to be painting a seascape along with tomato sauce. I've mapped the horizon line a little about the center line. On top of the horizon line, we are going to have in a smaller bush space for which we will be having the reflection in the area. The top will be the sky, the center will be the C, and the bottom will be the middle space. We will be painting a daisy metal this time, but are in a pretty beautiful pink sunset view. So now let's begin in picking up the colors for the sky. I'm going to be using in the yellow, violet, pink, and a little bit of white and black for this guy. I'm going to begin picking up the colors a little by little onto my palette. This time we are going to go a little different way in the sky. So I'm first going to beginning with this light yellow color towards the left edge. The blending may be a little different this time because we're going to go In section blending instead of the simple blending that we go every time. In case if you find it difficult, you can go ahead with just a simple blending from left to right. Instead of going in this section vise blending that we are going to go, I'm beginning with a yellow color on the left side. This time we're going to go ahead with the vertical blending instead of the horizontal blending that we have been falling for the previous class project, we are going to apply the paint vertically in sections and blend them together, creating in the sunset effect between each color, I'm going to just drop in some white like this loosely. But in the first step, I'm just dropping in the colors vertically and then I'll begin blending them one-by-one. If you are someone who's not comfortable into blending in vertically, you can go ahead with horizontal layout beginning in with the violet at the top side, then moving to the pink and then to the yellow tones. But I just want to show you another method of creating indifferent look into your sky using this vertical blending method. Now as soon as I've added in the pink color, I'm beginning to blend it in with the yellow, adding it a little overlaying the yellow at certain spots. This is still not the blending how it should look in. I'm just going ahead with the layers first. I'm even using this light violet color in between. You can just mix in white to your violet if you wish to use the color. And now on the rightmost edge, I'm going to go with a dark violet and it's love the black tint on the dark violet tone. Now at this point, if you see everything is looking just as a patch of color, not blended well into each other. We're going to go ahead blend all of these where I'm adding in a little of a black tint towards the rightmost side to get in that little sunset effect coming and the night sky also peeking in. Now I'm going to begin using in this brush. So this is like a blender brush. This is from the brand Princeton. Now, using this in a damped consistency, I will just begin blending in the colors here. I'm beginning in with the light color moving towards the darker tone. This is again just the first layer of blending. I will still be going ahead and blending in a lot. If in any case you'll feel that your brush has a lot of color picked up. You need to clean your brush so that you can get clean, finished blended look again, so you can see I blend it two to three colors. Clean my brush. Now again, going ahead with little bit of the blending. Now from the right side you can see I'm pulling the darker tones towards the pink color and blending them all well into each other. On top of all of these, I'm still going to go ahead with a lot of Cloud details. So then the blessings will go and write. Again, I picked up a little pink so that I can blend in the violet color again properly. You either need to pick up a damp brush or pick up little color on your brush so that the planning process becomes easier and smoother. Now we need to blend in the yellow and the white, yellow and the pink. So I'm going to go ahead picking a little yellow or white if needed. So I'll just pick up little yellow and blend it well with the pink color. So I'm just running my brush multiple times again so as to get smooth blending, you can see I'm going part by part not blending from left to right completely. I'm only blending between two colors. Then again, cleaning my brush and then blending in the next two set of colors and see where you need to just run in two to three times. To get a smooth finish between your color transitions. So we are ready with the base layer for the sky. Now, we're going to do the reflection process into the CSPs, but in the z-space, I'm going to keep it less complicated and just go ahead with the acrylic blend of the colors. So the C is going to be an exact reflection of the sky colors. So I'm using the exact same colors of the sky into the sea as well. I'm going to blend them in the same way and creating the Dept. So following the same process I have created in a base layer into the sea. Now I will just quickly go ahead and blend all of these in the sky. We are still left to add in a lot of Cloud details into the sky and create the depth in the sky. So do not worry if at certain spots you feel that you are blending or your transition between the colors isn't smooth or perfect enough because with the help of class, you will be able to cover them up and creating the smooth transitions. Now, I'm going to go ahead with the green color in the bottom field space will separate the horizon line. And this guy perfectly later on with the Bush and additive flexion to that as well. Now using the sap green color, I will begin in with the base layer in the field space. Now, you can go ahead with the various green tones here as well. I've just marked out a small space there to add in little brown tones there as well. I'm going to use in different tones of green with the help of brown and black to create in the tonal variations for the green color. Now ready to flee and marking the field lines will still be going ahead with the grass and the floral details on top of this. Now I'm picking up the yellow ocher color and I will fill it up in the center space that I've left empty if you want, you can go ahead with any other method of layout. I'll just go ahead with little more of the brown as well and a little more of the yellow ocher color. So as to get a little highlighted space here. Now I'll wait for all of these basically us to dry completely and then we'll begin adding in the layer on layer details, make sure that everything is completely dry before you begin the layering. So now everything is completely dried and I'm going to begin in with the clouds first. Now into the clouds, I'm going to go ahead with the same colors of the sky, but just either in a lighter tone or a darker tone. I'm for spinning in with the violet color and I'm beginning to add in little cloud strokes moving from the pink towards the violet side. Again, when you're going ahead with these clouds, you need to be sure about the British that you've put on layering. You need to go very light handed lead to not add in a lot of pressure. Otherwise, it will be very difficult for you to blend in because the colors will begin to get activated. Now I'm just picking up a little of the white mixing into the violet on my palette and creating a further lighter tone of the violet color. And I'll begin adding in little of the strokes on top of this. I guess it's too light, so I'll just add in little more violet again. So this one cloud here, I'm creating it in a little cloudy light space here. So just added in that little violet color. And now I'm blending it all. Now with a lighter violet color only I'm just beginning to create a little more depths of sky. So that is the reason I told you. If in any case you feel that you are blending in the sky aren't good enough. In the first layer. You can easily cover them all up with the help of these details and adding in the details. So far, the clouds. I'm going ahead with the same simple technique that we have been following since our class project for Dave. One simple half, see Stokes little curvy strokes using a damp brush, blending them into the base layer if needed, and adding in very simple layers. So you can see I used a lighter tone over the violet color. In case if you want, you could go ahead with a darker tone as well. I'll just go ahead blending a little with a little darker tone of the letters by because I do not want to bold lighter skies as well. So I've just added a little tense of the lighter tone. Now next over the yellow color space as well, I'm just going to go ahead with little tint of the darker strokes of the clouds to create that perfect sunset effect. So I'm going to go blend that darker tone as well. Again. Now you need to be very sure that you go ahead with very darker. Do not go ahead with too much of the darker tones is where you need to maintain the consistency of the tone that you want to add in. Now along with the gray tones that I've added, I'm just adding in little off the pink tones as well so as to have that perfect transition in the yellow space of this guy as well. So you can see, I'm going ahead with blending of the clouds into the sky with every layer. I do not want sharp look for my clouds. So that is the reason with every layer, I'm going ahead and blending it in with the base layer. Now adding in little highlights over the pink color of the sky as well. And then we'll move on to the next layer of the details. Just going ahead with lastly, one of the highlights I just adding in little pink color highlights over the violet color as well. And then will almost be ready with the sky and then move on to the next layer of details for this class project. This class project is a little different in a lot of bees beginning from the blending of this guy into a different pattern to adding in a seascape, creating in little reflections as well as we move ahead further. It can be a little tedious at times when you're going ahead with a lot of details, but you can always pause when you're working with gouache because you can rework and there is no issue even if the paint is dry out, you can simply reactivate them as much needed and go ahead with the detailing. So it's always better to stop in at any point if you feel that it's becoming overwhelming for you. And then continue with a fresh mind rather than adding up and spelling out the entire details. Now next half mixed in a little bit of the green along with the black color. And I'll begin adding in the bush detail into the sky first. On the horizon line, I'm creating a very small bushy area in the center. I'm just going to take this bush area a little taller in height. But you can see I'm going ahead with very simple dabbing technique to create in the detail. And now after this, I'll be adding in a reflection of this into the sea as well. For the C, I'm going to keep it pretty simple one, I'm not going to add in a lot of t. It's going to be majorly the reflection that I'm going to be playing along with and very little wave details if you want, you can add in that. I'll try to skip that as well. So just in this anti took this class pace a little longer, and then in the rest of the space, I've kept it small as you can see, and now I'll go ahead and add in the reflection of this into the sea. When you're adding a reflection of this into the sea, keep a fine line in-between both the top and the bottom space. So you will see a yellow line that is visible. That is the space that I'm keeping in-between the reflection in the entire way. So in the center you'll see a little pink line visible. And as I move towards the rightmost side, you'll see a little purple line visible. Now I'm just beginning in, adding in a little off the reflection detail into the area. And it's going to be a simple reflection just as it was in the top space. You have to add in a reflection that is wherever you feel. You have taken the grass a little taller, you need to keep it a taller in the reflection as well. Now, I'll wait for the first layer of the reflection to dry out and then I'll add in a little or much clearer center line in-between with a different tone. Now, let's begin with the field space for which I'm going to begin in with these coiled round brush to begin adding in the detail. I'm just going to go ahead and begin dabbing in this darker green tone at the top to create in a very bushy area detail. So very simple method to add in your This entire line, I've just gone ahead and added in this detail with the spoiled crash so as to give him that little realistic effect of the grass, I'm just going to add in little of this effect into the base layer as well. Later on we'll just be adding in a lot of DD daisies into this field. I've added a little of this in the bottom fields pieces bell, I have not added much of it over the yellow ocher space, as you can see. Now I'm going to shift into a smaller sized round brush and using in further a different tonal variation, green, I will begin adding in some leaves strokes as well, very randomly. So using this lighter color now, I'm just going to begin adding in some simple strokes. I'm using a liner brush so that it becomes easier to add in these long strokes. Make sure you use in different tonal variations of the greens so that you have all the effects visible. If you will stay restricted to one single color of the green tone, you may not have all of these details visible easily. I'm taking a little of this class talks overlaying over the z-space as well to show it in a nutshell look. So I'm going to go ahead with a little of the leaves into the entire bottom space before we move on to adding the disease into this field, I'm going ahead with very simple leaves stalks, that grass strokes that we discussed in the technique section. I'm just using indifferent tonal variations of the green. You can see all the different greens visible in the field space, giving it the natural effect. Now next after this, I'm going to pick up a little of the lighter green as well and adding little off the lighter green strokes. So this was a lighter green that I created, adding in white and black, creating in an olive green, dull kind of a green color. I'm going to use in the bright, light green color now and adding little strokes. I've just picked up a little of the green color on my palette, and I'll begin using this green color to add in little strokes. I'll again shift into my liner brush, just mixing a little bit of the white as well to the screen so to have a bright green color effect. Now with this further lighter green tone, I'm going to go ahead with similar strokes overlapping onto the previous one. So you will see again one more tonal variations of the greens visible into our field space, as well as you will see the overlaying creating in the natural effects. Now make sure you do not overly onto the entire space that we've added in. We need to let the greens also be visible. You need to add this layer in such a way that all of the previous videos that you've added get equal importance and equal visibility. I'm almost done adding in the Grass talks just a little more on the left side. And after this, we'll be moving on to the disease which is going to be The main attraction for this field space, very simple daisies that we've discussed in the floral technique section. In case if you've missed the florals part of the technique section, make sure to visit that because in there I have detailed discussion about the disease, the different angle of the disease, and adding in the bud details or the different perspective from which you can view the daisy. So make sure to give it a visit in case if you visit, if you're not, if you missed, I'm looking at the technique section of the floral spot. Now I'm just adding in some thicker leaf details with the green color before we move on to the disease. So one bunch of these leaves, I've taken them a little taller towards the sky, towards the water space as you can see. So this makes it look natural because in nature, nothing is permanent or nothing is same, everything is different, everything is beautiful. Now using the white color, I'm beginning to add in the DZ, make sure you use the white color in a bowl consistency. I'm using a smallest size brush. I'm holding the brush very close to the Brazil because I want a very smallest strokes and very precise one. You can see the different perspectives of the disease that I'm beginning to add in width. Again, I will remind you in case if you've missed a discussion about all of these angles or perspectives of the disease you can visit in the technique section of the floral part. Then you can get in all of the perspective view and how we've added in, and how you'll be adding in the bud to all of this. Now I'm adding in these daisies a lot scattered as you can see, make sure you add them a very auspicious lead to not add them all close together at once. At them all, defining them into the entire species in case if you want to add in furthermore, disease, you can always add in, but you cannot undo a fancy of added it. So it's always better to go step-by-step little by little, rather than adding in a lot of it together and then making it look like a cluster altogether instead of a beautiful field. Now one or two daisies, I'm taking it till the top space towards the sea area as you can see, trying to show them reaching till the seabed. Now let's begin adding in the butt to these daisies for that I'm picking up the burnt sienna color and using this color, I will just begin adding it into the center species of the flower. Now, every flower will have a different bird species. We've discussed all of this as well in detail in the technique section. So I'm just quickly adding in the buds. Then I'll see if I need to add in for the more disease or this much would be enough. So I'm done adding in the bud details for now. Now I'm just going to go ahead with a little darker green tones. I'm going to pick up a little bit of the black, mix it with the green so as to get a very darker green tone to add in the stem to each of these daisies. And I do show them coming out from the fields piece trying to join a connection between the grass and the disease. So using this darker green also am adding in little grass books randomly in between. So you can see one more tonal variation into the grass field effect. So I'll quickly just adding these and I'll just go ahead with two to three more DC's into the field because I feel the field looks a little empty. So just real quickly add in a few more of these disease. So before moving on for that, I'll just quickly splatter little off the white color so as to show some very mini daisies far off, which is, you know, very tiny out. Now I'm covering up the sky. As you can see, that these white splatters do not go into the sky and the CSPs. So you need to make sure you can either cover it up with a tissue or a clot or with your hand just as I did it. Now, I'll quickly go ahead, add in little more detail. Using the pink color. I'm just defining in this line out here, the center line that I told you between the reflection and the actual Bush space, so as to show it as a realistic reflection in that reflection area as well. I'm just adding in some pink cut lines to show the moving water or detail into the reflection. Now I'll just quickly add in a few more disease as I told you. So I'll just quickly add in a few of them here and there details as well. I'm not overdoing with the daisy, so I do not want to create a huge cluster. Just added in two to three more of these wherever I felt a little empty space. And that is it, just adding in the last details with the darker green tone? And we're ready with our class project for day five as well. Let's remove the masking tape. Make sure you peel off the masking tape against the paper and once your edges are completely dry. So here's our class project for d5 are pretty pinks, DC fields, Sunset. The sky is what I love the most. If you have a closer look, you can see the details in the sky. The blending look so perfect that reflection, the cuts that you've given in the reflection, the pink line in-between the bush and the reflection, making it look realistic. I hope you enjoyed painting this and I will see you guys soon into the D6 class project. Thank you so much for joining me into this class. 8. Day 6 - Sunflower Meadow: Hello everyone. Welcome back to day six of the ten day Meadow class. Today we are going to go with a pretty blue sky and then go ahead with beautiful cotton candy Cloud look with the white color. Let's beginning with the sky forced for that I'm going to use in the sky blue color, white and a little tent of a darker blue color. I'll just mark out a cloud space this time so that you know where you need to leave the species White precisely. So I've mapped the middle space at the bottom first. Now at the top of the Meadow, I'm going to have a huge white cotton candy cloud effect varying. I'm marking out a very rough cloud shape. You can see I'm going ahead with very rough outline and not keeping it off the same how high throughout? I'm trying to vary the height as well. Now, in the top area of the sky, I'll beginning with this light blue color first. Later on, I'll pick in a little White and dilute it towards a lighter tone closer to the Cloud space. But just going ahead with appalled layer of the color in a thick consistencies so that the colors are visible and opaque. Instead of having a white piece look. Now around the cloud shape, I'm marking the shape with the help of the blue color precisely. You need to go ahead a little carefully at this point, you need to make sure that you have that perfect cloud shape outline. If a little off the colors go inside the outline, that's okay. We'll be able to cover it up and we add in the Cloud details, but as much as possible, try maintaining an outline and leaving the bottom Cloud space White because we'll be working with a very bright cloudy day effect. So I'm just going ahead with this blue color layer first. Now I've picked up a little of the darker blue tint. I'll quickly blend in with the lighter blue on my palette first, and then adding a layer of this on the top of this guy and blend it with the light blue color. I'm not going to add it in a much darker consistency as you can see. I'm going in with a very light layer you. So you can see I have not added much of a darker tint, just little highlighted the top and blended it well. Now we'll paint the clouds piece that I'm going to go ahead with. The white color has shifted to my Princeton blender brush. This is a smallest size blend, a mop brush you can simply use in a similar style of Round brush or a mop brush, beginning in forced with the pure white color, I'm beginning to mark out the outline for the Cloud defining the shape and the edge. You can see I'm going very carefully and slowly defining in the shape. I'm using the white color without adding any water because I wanted opaque layer of the same. I do not want a translucent color or make the bottom basically or White visible. So going ahead very carefully adding in a bolt Leo at the edge, you can see, since the white is blending with a little tint off the blue, it's automatically creating a perfect transition into the sky from the blue towards the white clouds piece. So first into the entire Cloud space, I'm going to go ahead defined in this space. Then we'll go ahead with little blue highlights as well into this whitespace and a little yellow highlights to show a little Sunset effect. So fast means that defining the entire cloud line, you can see I've defined the cloud shape. I've given those COVID tones, not giving it a simple straight line. So filling in the entire base Leo with this white color layer, as you can see. Now, I'll just go ahead define a little more of the details at the top space wherever I feel the definition can be a little more stronger and bold enough. You can see I'm going with very rough shapes, not keeping it simple coves, trying to vary the shapes throughout so that you have a natural look to your cloud line. Now I've picked up very literate end of the sky blue color and in-between the white randomly I will create a small Cloud with this blue color, blending it with the base year White. That is why it's important to add the white in the entire base layer. Now I've picked up a little hint of the gray color, and in a similar way, I'll add in little gray highlights on the other side, blend well with the white color in the base layer, creating in a perfect transition. And the blending effect. Again, using a little of the blue tints, I will begin adding in little highlights and creating a little more blue cloud effect. You can see, I'm trying to blend all of these on the goal with the help of the base layer White that we've already added. It's very important that you make sure you have a white layer completely in the entire bottom space so that you have this perfect effect of the blended look. I'm just going ahead with little more highlights. And then we will move on to the little yellow highlights that will be giving into this. If you want, you can skip in the yellow highlights if you do not wish to add them. Now to the yellow that's already on my palette. I'm adding in a little tint of white and I'll begin creating in little yellow effects into the sky. This will basically show that it's a pretty sunset sky because the fridge, you're having those little yellow highlighted space into the sky. So very little on the edge that I've given in the center and adding in little yellow effect your, you can even use a little orange tint if you wish to give him upright effect of the sunny day. Now very gently, I'm just dabbing in some smaller cloud effects as well into the sky very little, just with their little Paint which is on my brush left. Make sure you do not add these clouds in a little too bold manner. Just go ahead with very simple light layers. So that is it for the bold sky. Now let's go ahead with the base layer of the Meadow. I'm going ahead with very simple green tones. This time I'm using this bright green color because I'm showing a pretty bright sunny day, kind of a field. And we're going to be going ahead with the details of the Sunflower Field this time, I'm going ahead with very bold layoff or the base area of the field. Now defining the horizon line. Well, as you can see here, we are going to keep the field a little empty this time. Just going to add in little leaf details and little of the details with the sunflowers. Now to the edges of the Meadow space, I'm going to go ahead with a little darker green tint, which already on my palette and just add it on the edges, blend it well into the light green tones. So as I always see, you can go ahead with any green tones of your choice. I'm just going to use in the ones that's on my palette wherever possible. I'm, you know, by now I just mixing black and browns to adjust the green tones. And if I need some lighter tones, I adjusted using in the yellow and the white tones to just on the edges. I've added in the Colors and blended it well into the Meadows space. Still in the center you can see the bright glowing space in the field. Now, let's wait for all of these to dry completely. So now everything is completely dried and I'm going to pick up a little tint of the black color, mix it to my green and begin adding in little details are further into the field space. I am going ahead with my spoilt Round brush. I'm just using the tip. I'm going to begin adding in little green details on the right side. First. We're not going to cover the entire Meadow space with these details this time, so do not overdo it anywhere. We need to make sure and go ahead slowly filling in the spaces. I'm majorly adding all of this onto the right side. Onto this, we're still going to be going ahead with a lot of the Meadow details, which is going to be majorly the Sunflower and the leaf details this time. So majorly the sunflowers are going to be on the right side. So that is the reason I'm building this entire based on the right side. On the left side will just be giving it a little off the leaf effects later on. Now using a little lighter green tint, I'm beginning to add in little highlighted leaf effect onto this space that we've painted I'm going ahead with very simple leaf details. You can see I'm using the light green mix, which is on my palette, which is a mix of the light green sap green, white, and the neutral tint of the black color. So I've just added in simple leaf effects. Now you can see the background darker color is acting in as the shadow to all of these leaves that we are adding in now. Now I'm taking a few of the leaves taller towards the top space into the sky as well. You need to maintain the color theory such that the colors are visible on top of each other wherever you feel that the colors are looking a little light are not visible. You can darken or lighten the tone depending on the variation needed as per your painting. Now let's begin adding in the Sunflower. For that, I'm going to pick up the yellow color. I'm going to use the light yellow color from this set and I'll begin creating in the sunflowers. Also, I have already discussed in detail about the sunflowers, the angles of perspective, the method in which I'll be adding all of them. So in case if you've missed it, you can visit the technique section so that it's easier for you to understand how are we adding in the sunflowers in the different perspectives. With a pencil, I've quickly marked out the buds space for the first Sunflower so that I know around where I have to keep adding in the petal details, using in the yellow and a mixed off a little tint of the yellow, orange color as well. I'm beginning to add in petals with different tonal variations of the yellow and orange tones. As you can see, I'm going ahead with very simple petal details. Nothing complicated, nothing difficult. Just laying the petals 11 closer to each other. I'm just trying to very literal tonal variations in between as possible. So I added in a little orange tint into a few of the petals and rest of the petals just let them be yellow. The center but space I've kept empty for now. We'll add in the detail there as well. So using in the brown color, I'm just adding in the bud detail. Later, we'll be adding in the highlighted space for the petals and the next layer of petals to it wherever needed. Now we're going to be adding in two to three more of the sunflowers, one of which is going to be in the side angle view, which we've already discussed in the technique section and the perspective. For that, I'm just lifting a little of the yellow, orange color as well so as to have listened color variations. Now, again, I would recommend if you have missed in the technique section of adding in the Florida Visit in that part so that it's easier for you to understand the perspectives and why we are adding them. Now, you're, I'm adding in a small Sunflower which is just at the bottom, so just half of it will be visible. Now in the same V, I'm going to quickly go ahead adding two to three more of the sunflowers. And then we'll move on to the right space for adding in the details. So again, with the help of the pencil, I've just marked out the space that is the a side angle view that we're painting this time. So I've just added in that side angle view. Now, I'll just be adding in the petals. In the side angle view only. I've just added in the first layer of petals data as well. Remember this is all just the first layer of each of the Florals that we are adding. I'll still be going ahead with a lot of layers onto this. Now one more flower that I'm adding yours, I'm just giving in a rough sketch for the buds space. Now around this, I'll be adding in the petals bus. This time, I'm going to keep the top petals small and the bottom petals a little taller one so as to show a different perspective for the floral as well. All of these, again, we've discussed in the technique section. So in case if you've missed it, It's time for you to go check it out so that you can understand about the perspectives and angled view of these Florals. So now adding the butt to this flower as well, you can see the top petals are smaller, the bottom petals are taller, giving it a different perspective, a different view. Now I'm adding one Sunflower in the center of all of these leaves that we've added it. And your unique to go in very carefully, you need to make sure that you do not add in a lot of pressure. You need to go very light handedly so that you can add in the details. And basically a green color also does not get activated because since Gouache, It's a water-based medium, the colors get activated if added too much pressure, and then the base layer may begin to again be activated and blend in with the details that you add in. Now. Now, this one more flower that I'm adding here onto the edge here. Now till the first layer of the Florals try in, I'm going to go ahead with the next layer of details. So I've picked up a gray color. I've mixed in a little bit blue, black, and white to get this grayish tone, you can even directly using the gray color from the set if you haven't. I've mixed in this ready gray color which is available with a little bit of the black, but you can mixing black, blue and the white color to get a similar grayish tone. And I'm beginning to add in little while and pulls into the sky and the field space area. So I'm adding in straight lines using the liner brush on the left. I've added the taller ones moving towards the right. I'm going to keep on decreasing the height of these. So just adding in little more details to all of these will be adding in via lines to connect all of these polls with each other later on. So first you can see I'm adding in very simple details to each of the pole. Nothing much, just simple boxes or simple, or details for the poles to show in as the poll detailing. Now using the black color, I'm going to add a small DACA highlight on the pool towards the left of the poll. I'm just adding a very fine line with the black color. So now you can see as soon as you add in this black line, you have the duotone effect on the poll trying to show in the light and shadow effect creating in the depth onto the poll space. So very simple line to create this depth. Now using in the black color, I'm beginning to add in the wire lines. I'm using the brush this time and the black color, I'm using the liner brush, you can see the fine lines. It's not a bold black color that I'm using. It's a little grayish tint that I'm using in your, now in one of the Class Projects, I told you that we will be using this method as well as the second way you can either use a pen or using a brush like this, it's a little tricky to go ahead with a brush because you need to have that control whether Brush, Latino lines, the detailing. So it's absolutely your choice. However you find it convenient, you can go ahead with that method. Now just adding a few lines crisscross to each other. You can see I've not taken them all straight. I've tried to bury them, have tried to make them a little tilted at certain spots. One thing to keep in mind, neither the pole is not, the wires are off completely black color. You can see it's a little grayish tint that I've used for both of them and just used in Black forgiving in highlights to the poles creating in that depth effect into the polls. Now your one line I'm taking towards the top area of the sky. Again, you can see it's of a lighter gray tone. I am using in the fine line brush because if page I'm able to achieve these fine strokes, you need to be careful about these small things so that you do not go out of proportion. Now moving onto the Sunflower again. So first to the Sunflower, which is off half view, I'm just beginning to add in the leaf details to the back of this, all of this as well. Again, we've discussed in the technique section, each of the details adding in the leaves on the backside, adding in simple leaves to the Sunflower as well. So I'm going to pick up a very darker green color, adding the stem and some leaf detail as well to the sunflowers that we've added in. Now I'm just taking out a few more darker leaf tones out your very randomly, you can see I'm trying to maintain different color variations now I'm taking, trying to take some of these leaves towards the sky space, overlapping a little of the wireline details as well. But again, simple one Strokes leave, but you need to make sure that you maintain the proportions so that it does not look out of the Painting. Now using a little lighter green tone again, I'm overlapping these darker leaves as well to give it a little more natural effect. So you can see two tones of the leaves in this Brand bunch of leaves that we've added as well. Now using a little orange tint and the fine liner brush, I'm just adding in little highlights to the Sunflower. We discussed two methods for same as well into the technique section. So you can see as soon I'm just adding in the highlighted lines, it's beginning to get in more detailed look and much more depth to the sunflowers as well. We have still gone ahead with very simple Sunflower is not much detailed ones, but just trying to give it a little detail look wherever possible. So we're almost through this Class Project just we are going to add in little leaf details or the class details on the left side as well. And just a little highlights to the remaining Sunflower. And then we'll be ready with this Class Project for D6. If you want, you can add in more sunflowers, are if you want, you can add in the sunflowers to the entire Meadows P. Martins. I wanted a little variation in the Class Projects. I've kept this Meadow only towards the right side and not taking it completely. We've tried indifferent Meadows only leave Meadows Meadows completely at the bottom space, only different Grass details. So this time keeping the Meadow space majorly on one side and trying to have a different view with a lot more details in the Cloud this time. With the help of the black color, I'm just tapping into the center of each of the bud to adding the details to the bar. So you just need to use the tip of a smaller sized round brush and keep it dabbing in the center space to give it little more detail. Now using different tones of green, I will quickly begin adding in little leaf details onto the left side as we discussed. Now taking some of them a little taller, that is towards the skies piece. I'll just be going ahead with simple leaves and some Grass details. You're not much of the details and I'm going to keep the center space bright and green with the base layer that we've added. Mentioned, you can see I'm just trying to create in some leaf branches. I'm just going to take them a little taller and adding a few more leaves to this. Now at this piece as well, you are free to go ahead with different tones of the green. It's not necessary to stick to one single tone or the same tone as I'm using. Because this tone also, as you can see, is a mix of different colors on my palette. It's not already tone from any of the, you know, color tabs that I haven't. So I'm just going ahead with very random green tones that is making the field under Meadows in each class project look more natural because I'm going with various tones of green color with the help of the white, yellow, black, and brown tones to create in multiple natural green tones. Now at the bottom I'm just pulling out little Grass Strokes like these. I'm not taking it completely to the top because as I told you in the center, I'm going to let that little lighter green fields please be visible as it is. Towards the right side as well. I'm just pulling out a little of these Grass Strokes randomly at certain places. And then we're almost ready with the Class Project. So I'm just adding some highlighted leaves using in the black color to give it a little more depth. So you can either use a very dark green color on mixing a little tinge of green to your black to add in these bold leaf detail. Now I'm not finding that last a Sunflower onto the right-most side, are you not to happening? So I'm going to cover that up as well with the green color. Even in the center your I felt that it was too dark tones, so I quickly blend it all of that and added in little lighter leaf effect on top of it again. So I'm just covering up this last Sunflower with the green leaf details again, because I do not want that Sunflower visible because I find it too overwhelming. So now let's removing the masking tape. Make sure you remove the masking tape very carefully pulling it against the edges, and make sure that your edges are completely dried before you begin pulling off the masking tape. Yours are pretty Sunflower Field for D6 of these ten day Meadow Class challenge. Let me give you a closer view at the Cloud, the details of the cloud, the details of the field and the Sunflower. It's pretty simple way of sunflowers that we've added. And I hope as a beginner, if you've joined us, you enjoy painting these simple details with simple techniques. And the sky looks stunning and I love it. I'll see you guys soon into the D7 Class Project 9. Day 7 - Lavender Fields: Hello everyone. Welcome back to day seven of the 10-day Meadow Painting Class. Today I'm going to be going ahead with the pencil sketch for the meadow first, because today in the middle, we're going to be adding in a small muddy pathway as well, so forth and FAD it in the horizon line on top of page we're going to have in a mountain range. And towards the right side a bit, I'm going to take the walking pathway that's going to be a muddy way that I'm going to debit. Now, you can go ahead for this placement at any place that you wish to. I'm just taking it moving towards the right side as you can see you. So we have a basic pencil sketch steady, and that's all we need. We are going to be Painting a Lavender Fields today. So let's begin with the colors first. For this guy, I'm going to use this bright yellow color along with a little bit off the Pink and the violet tone. This time I'm beginning from the bottom space. Usually you have seen me beginning and from the top space and then moving to the lighter tones. But to keep it different and new methods for everyone to learn. I'm going ahead with a different approach today. I'm beginning in with the lighter color at the base where I wish. And then I'll move on to the darker tones and begin blending from bottom to top this time instead of top to bottom. Now in-between I'm even picking up polygynous, this yellow cream color for blending in with the pink tones together, a little orange-ish highlighters. Now on top of this, I'm going to go ahead with the pink. So basically, you remember for day five, variant B had painted in a sky wherein we had the vertical Blending in case if you're someone who's finding it difficult to go ahead with vertical Blending still, you can use this horizontal Blending method of the same colors. We've used these same colors for day five in the sky, but we've blend it vertically. It's a little tricky method to blend it that way, but once with practice, it becomes quite easier. Now picking up the violet color and beginning to blend it at the topmost space. Now I will just take a little bit of the Pink more and blend it on the edges of the sky. The rest of the DDL sets a Cloud details. I'll be adding later on. I'm done Blending the sky. A little of the colors you can see has gone onto the mountain ranges when and that's okay, that will get all covered up and became the mountain G. Now I'm picking up the green color for the Meadows piece. I'm going to go ahead with the green and brown. Brown is going to be the path-based piece that I will be blocking. First, I'm just lifting up alliterative, the green, adding a little hint of brown to get a multi-gene kind of color. This is going to be the Meadow space on the left and right, the center pathway area that Piedmont, we're going to go ahead with only brown tones. They're first beginning in with this green color. So I'm just basically giving a basically, or that's a color blocking for now, we're going to go ahead with a lot of leaf details and the Lavender Fields details on top of this, we've already discussed the Lavender flowers as well in the technique section. So in case if you've missed that, you can visit that to understand the leering further Lavender flowers that will be Painting today. Now on the rightmost side, leaving those three lines in between, I'm adding in the green color datas. Now in these three lines, two are going to be pathway in the center. We're again going to have that little green 3D space coming in-between the pathway as well. So into this center line, I'm marking out the green color again to actin as the pathway. Now next I'm going to mixing a little bit as to Black along with the green to add in that bush Detailer on top of the horizon line. I'm not going ahead with a mountain D danger and rather going ahead with Day because it's going to be quick and easy and I guess that will look better because we've already added a lot of mountain scapes, the other Class Projects. So let's go ahead with a bush line on the horizon line. So I've created a very dark green color, as you can see. Now using the tip of the brush at the top, you can see I'm just dabbing the brush to create this bush effect. I'm trying to vary the height. I'm not keeping the line straight, so make sure that you varied throughout. Also one more thing, make sure you did not cover up the entire yellow space. You want that legend Sunset effectors well into the sky. So make sure that you do not cover the entire yellow space while adding in this push detail with the green tones. So basically, as you can see, post I'm just marking the outline of the bush space in the center. You can see I've taken it so much taller and on the edges I've kept it into low-lying, still trying to vary the height throughout. Now the entire space, I'll fill it with this darker green tone completely defining the horizon line will be a little careful, go a little slowly and now filling this entire space with this darker tone. Now after filling in the entire space, wherever I feel the need to add little more details on the top space to define the shape of this bush space. I'm just going ahead with the tip of my brush to add in all very uneven look to make it look natural. Now using the burnt sienna color, I will begin adding into these bite-size pieces. Now, I'm not going to map out the edges in a straight line. You can see I'm keeping a very rough edge towards the green dye to keep it drafts so that it looks snatched. I'm adding the little pink highlight intended of this mud lines so as to show the little reflection of the sky falling onto the mathspace as to just dabbing a little Pink and blending it with the brown in the center space on the adjustment will be going ahead with the next layer of grease will give it a little more defined edge. For now, this is just the base layer color blocking that we are going for. Each area in the same behalf filled out this line as well. Now using the brown color, I'm just adding it roughly over the pink again to show it a little only in the center spaces. So brown on the edges, a little pink highlight in the centers piece. That is what I've done for now. Now shifting to my spoils on Brush, picking up the darker green color that we used in the bush space, I'm going to begin adding in the darker green effect out. Now, make sure you need to keep certain things in mind. Your brush shouldn't be wet, your paint shouldn't be too watery and you try to hold your brush perpendicular, remove the excess paint, only then will get the dry brush effect. Or you will get very simple patches of the color instead of the natural grass effect. Similarly, I'm doing it towards the left side as well. Now you can see I'm not covering the entire Meadows piece here. I'm keeping a little of this piece at the top, closer to the horizon line empty for now. Because after we have to Florence, the Florence below to go a little towards that space. So you'll have this in variations as well in the field area. Now let's pick up the light to Jean Carlo for adding the further details. So I'm going to pick up this light green color. If you do not have it, you can simply mixing yellow along with your V. Do this, I'm adding in the Your darker green color that we have to create a folder. Now it's not exactly like the previous one, not exactly like the lighter tone. You can see it's a mid tone that we've created. Now, with the help of this, I'm going to add in a next layer of details on top of the horizon line. The first Bush didn't that we created. On top of that, I'm going ahead with a lighter range of the Bush as well, which is on the horizon line, but it's smaller than the first bushy area that we've already added. So quickly on the entire horizon line, I'm going to add in the second year of gouache like this in-between, I've picked up little more off the lighter tone to show a little more variation. So simply you can go ahead with endless tonal variations of the green color as per your choice. Because if you observe nature, you'll see endless possibility of green in every strobe that's placed close to each other by nature, it's absolutely okay to go ahead with your own green tones are your choices of colors. So on the left side here, I feel the green's a little dolphin just running one more layer on top of it. Now you can see the two Bush effect that we have on the horizon line. Now next time picking up the Lavender color, mixing it with a little the white. So that's the violet mixed in with white to get the Lavender can begin adding very small dots of this color closer to the horizon line to show these Lavender flowers which are far from our view. So just, just as we went in the Tulip fee, simple dabbing of the color, that's the same process and falling. And for the next layer, I'm picking up a little of the lighter one as well. And I will just begin adding in these lighter strokes here as V1 line of the Florals on the right side as well. So basically these are the flowers which are far from our view and not visible completely. So just added them in. Adapting methods to create that far off effect will be adding in the close Lavender flowers, as we have discussed in the technique section, will be falling that and adding them. Now to begin writing in the Lavender flowers, I'm going to pick up the royal blue color from this set, which is a wild dish blue color color. This is the marine blue color by the knee. You can go ahead with a royal blue orange it in light blue tone and mix it with violet. I'm going to pick up a little of this color, mixing it along with the violet your using this athlete, a beautiful Lavender to this. If you want, you can add an adjustment of White Asbell for the phosphate. I'm just going ahead with this color directly. That's a royal blue color, violet mixed in with blue. And I'll just beginning with the first layer of the Lavender. So this is a simple dabbing technique. I'm using a size two round brush. You can see I'm just having creating an oval shape your dabbing in these tools. We've already discussed this in the technique section of the Florals part. In case if you've missed it, I would recommend you to just go ahead, give it a loop. You will have an easy understanding of adding in these Florals door. This is just the first layer of the Florals that we're adding in. After this, we'll be going ahead with the next layer on top of these ones. These dry out. So this is just the base layer for the Florida Now you can see in-between are certain places I've left off the green spaces to be visible. We'll go ahead with little lighter strokes after we're done adding in the flask complete leaving be adding in the stems to these. Till then let's add in little detail onto this pathway. So I'm picking up the black tone and I'm going to mix it along with the on my palette and create a darker brown than the brown that I've already used in the base color and begin adding it onto the edges creating in the depth. Now you need to go ahead carefully, just run on the edges, blend it well with the green sites to create a pathway look well blended in-between the Meadow space. So you can see I'm running the darker color in just a zigzag pattern on the edges creating in that age effect. Now make sure you do not go ahead with a very dark colored halting need to maintain the harmony of the colors that you're using. So I'm going ahead with just a little darker brown than the base, still proud and putting it on the edges to create in that pathway effect very blended with the greens in the base. Leo now picked up a little bit into more of the grayish tone and adding a little on the pathway to show some rocky effects as well. Just very little, not much of it. You can even use just the darker green color if you wish to you. Now you can see as soon as I've added that zigzag pattern on the edges of this pathway. It's smoking, looking more realistic and giving it more natural look to the entire pathway. Now I'm picking up some white, I'm going to mix it to this Lavender and the blue color mix that we have created and creating in one tone, lighter shade. I'll begin adding in the details onto the Florals. That's the next layer of details that we love to excess paint first beginning into adding onto this detail that we've added closer to the horizon line. That's the Florals which are far away from abuse and just dabbing in the lighter tone your as well to create needs and highlighted effects. Now in the same VM willing to create the dabbing effect towards the right side Burrus Pen and quickly add in the Florida details. Now, we're still left to go ahead with the second layer of the floral details. I'm just going to blend in these greens are bit because I feel it a little, I'm blended and a little shabby so quickly running in a damp brush you to have it a perfect blended and the layout effect. So as I see, it's very easy to undo your mistakes with Gouache. You can see how easily I could correct in that booth space, which I was feeling unsatisfied with and given little highlights. Again, because this is a water-soluble medium, it's easy to leave medium and you know, just draw over and over it and correct your errors in cases you're using acrylic wash. This may not be possible because it has the properties of Acrylics, which does not let it review it again. Now using the lighter color, I'm adding the second layer on the Florals, the same Strokes just with a lighter tone. So you are, I'm just going ahead with the next layer of details on top of these, as you can see and just dabbing it. But I'm making sure that the base here, darker tone is also visible. Do not completely hide the darker strokes that you all to be added. It's important with every meal you maintain the balance of the first layer. Because of course you've added the first video for a reason and not just for the sake of it. So it's important to make sure that both the layers are visible close Now I'm just adding in little more highlights your again. Now with every layer that to go ahead who need to make sure that you're basically gets stripe. And then you go ahead with the next layer. Because if you can go ahead with the layer before the previous layer has dried and it will be very difficult for you to get into details because the colors will keep on blending into each other instead of giving you the layering detail. Now I'm going to go ahead with the lighter green colors. I've just picked up a little more of the lighter tone. I'm going to add in a, It's happening color. And using this, I will begin adding in little details in the bottom closer to the Florals as I've just added in some stem to the Florals and adding in little Grass Strokes between the slaughter. So you can see as soon as you add in the Strokes with the lighter color you feel again, has one more variation, giving it a little more hi light and life to your entire future. Now, towards the pathways piece, I'm going to add in little of the Grass Strokes overlapping towards the pathway as well, trying to show in some of the gases glowing and overlapping the mud space that we've added it. Now in the same be even I will add in a few towards the right side as well and a little towards. So basically with disliked the tone you've added the stem detailed as well as the details of the Grass a little overlapping on the mathspace you can see in the center creating the effect. Now let's move on to adding in little details into the sky. So this time I'm going ahead with a bold big yellow sky or whether Pink and the violet species. So I've added in a little layer of the Pink. Now I'm going to pick up little violet, blend it along with the yellow your. Now I'm using the violet mixed in with white. That is the reason I even not be getting in muddy color. But you need to sure that you have enough white into your violet so that you do not get in the muddy tools because otherwise violet mixed in with yellow or orange will give you muddy tones. Now in between, I'm going to pick up little paints so that the Blending becomes easier. I'm not going ahead with the simple stuff clouds this time as you can see, I'm going ahead with a big bold cloud in the center of this guy with faulty colors. That is the same colors that you've used in the base layer of this guy. I'm using in your to create in the Cloud space. So you can see how the blended effect is looking at your, we started with the yellow on the pulpal space, so it's highlighting there. And then we move to the pink and the violet that is over the orange piece you can see you have the pink and blue violet color creating the Cloud defect. And at the bottom for Blending it a bit, I'm using the yellow color so that it has a little blended effect with the base. To. Now let's begin adding in little off the cloud details, but these lighter tones are in the rest of the space as well. Now, this is going to be simple Cloud details that I'm going to add it to. Basically, I've added one big cloud effect in the center space and now on the edges on both sides, just adding in little highlights for the cloud ETFs. On the side here I'm using a very nice mix of the Lavender color that we created to add in little highlight over the violet and the pink tones. If you want, you can go ahead with just simple strokes in the left and right side. But since we are creating cloud-like structures this time, I prefer creating all of the Cloud details with the same style so that it has a little flow into the sky as well. Now using the pink color and beginning to add in little highlights over the yellow and orange piece of this guy gesture eating in very simple cloud patterns here. So make sure you just go ahead alike on the yellow tones. Go ahead with the tones off the top color of the sky. On the top of color of the sky, you can see I've got more with the yellow tones so that they are visible on each other. Now from the edge Yoda is bad. I'm just pulling out little of these Strokes. We are almost to the Class Project just a little more details before we begin to peel off the masking tape for this class project. I'll just pick up a little more of the yellow color because I feel this yellow at the top here looks a little Delphi. They just gave a little brighter yellow effect and blend it will quickly. So using the damp brush, I've quickly blended it into the base layer of the Cloud that we've added in. So you can see how easy it is again to just correct and blend and create highlights in gouache, which is not the same in case of acrylics or watercolors. So I just forgot to add in a little more highlight on the horizon lines. I'm going ahead with a darker green line again. So basically on the top of the horizon line you'll have three bush stayed going ahead with a darker one because that will define the horizon line much more detail. So I've added the baseline now on top of that, I'm just blending in again. So basically the top dark green color that I've used them using the same darker green on the base layer as well. So now you can see three different details of Bush onto the horizon line, darker in the center, you have little lighter effect. And then again on the horizon line you have the dark bold effect. So now yours to closer look at our painting. You can see how beautiful the Cloud is looking in the center and the center myopathy is giving such a realistic effect because it's the loose strokes that we've added. I hope you guys enjoyed painting this with me today. I will see you soon into the day. Each class project. Make sure to upload your class projects and drop a review if you like this Class 10. Day 8 - Rose Meadow: Hello everyone. Welcome back to day eight of the 10-day Meadow Painting Class. Today we are going to paint a beautiful small cotton candy Cloud with mixed Sunset Canvas and then add in a Rose Meadow. I've marked out this cloud space on the right side. It's going to have one cotton candy Cloud. So for this guy, I'm going to go ahead with this sky blue color. And now I have marked the Cloud space, so I'll try not adding this color into the Cloud space. I'll just create an outline for the clouds roughly. So almost off the page I'm going to have in this case, P is now on the right. I'm roughly mark now the Cloud space. I'm not adding this type blue color. I'm going to pick up light blue tone. But as I move closer towards the horizon line, so roughly on the right side you can see I'm marking out the cloud shape. Now on this left side, I'm going to pick up little of the white along with the blue so as to get a lighter blue gradients towards the left side as you move closer to the horizon line. I'm just trying to blend in the colors when you can see a lighter blue color as we're moving towards the bottom side. Now, at the bottom, we are going to have in Meadows, please bear in will be heading in Roses this time. So I've left out that right space for the Cloud area, which will be adding once this dries out a bit. This guy joy is, let's add in the PACF are the Midwest. This time for the BCR of the middle, I'm going to co-head with very taco tones. Some picked up the black color directly along with that. If you want, you can add in a little of the green hints. But we are going to add in the green leaves on top of this black color. Now in case if you are an absolute beginner with Gouache, you may be confused whether how the greens will be visible on top of the black. But understand that gouache is an opaque medium. Even the lighter tones are visible on the darker colors. You just need to wait for the base layers to dry completely. And you need to go very light handedly with the layers so that they are visible even on the darker tones. I'm just adding in a simple black wash at the bottom space. Now I'll shift onto way round brush and picking, adding in little details. But before that will even be Painting that cloud. So using a round brush, I'm just beginning to give him some dabbing detail for the bush and the leaf details, very simple ones. We'll even be going with little detailed list. Look once we move ahead for the, this is just the base layer that I'm trying to set in for the Meadows piece. Now on the right side, make sure you do not take it towards the whitespace. You need to keep that space empty. And if you want, you can first go ahead and move on. Move a little forward into this video and paint the cotton candy sky, and then move on to these black tt's. Because if you are an absolute big knife, maybe difficult for you to blend the cloud out there easily with the black tones already there. So it's absolutely your choice how you wish to go ahead with. Now just using in this simple leaf strokes that we've discussed in the technique section. I'm adding in these e's with the black color as well. Later on we'll even be adding them with the green tones closer to the right side. I'm keeping it very minimal for now because first I'll paint the cotton candy clouds, and then on top of that, I'll be adding in the overlapping leaves. Now when wade through all of these to dry first. Now the base case chi and Meadow have tried completely. So I'm going to go ahead and begin painting that cotton candy Cloud. For that, I'm picking up this light yellow color. I have to smaller size blend a mop brush from the front Princeton. I'm picking up a little bite mixing into the yellow. Now I'm going to begin very solely step-by-step. Make sure you go ahead slowly with these Blending. First, beginning in with the yellow closer to the blue Now I'm not adding the yellow to forcefully. I'm going to very light hand because of, if you will add in a lot of pressure, you may get in green tones. So again, between the yellow and blue and picking up only fresh White and beginning to add in little more white first. And then move on to the yellow tone so that you do not get green tones. I'm bringing up a little bit of the yellow, orange color as well and beginning to add in little highlights closer to the yellow color now. Now again, shifting into the white color and beginning to add in the White Claws to the orange Blending each of these. So you can see how blended the yellow first with the white, then the white with the yellow than orange and again the white. Now when you're moving closer to the bottom space, be a little careful if you've already added in the black color. Again, moving to a little bit of the yellow at the top over the orange to make the blending suppose smooth and easier. Now I'm picking up this violet mixed in with the white color and I'm beginning to add in a little bit of violet effect at the bottom space. For Blending this again, you can use in a little bit of the white, the pink tones to make the blending and the transition smoother and easier. I'm using in a little bit of the white to blend it again, the orange with the violet tones, you can see a smooth transition happening in. Now at the bottom space do not body with the unfinished effect of the cloud. At the bottom-most piece, I'm bringing very carefully only till the little black line, not much closer because I'm going to be adding in leaves overlapping a little of this cloud so that empty space between the cloud and the Meadows piece will get covered up easily. Just adding in little more highlights with the violet color. You can see I'm not getting in any muddy tones because I have gone ahead with a lot of white in-between for blending in these clouds. Now, just using the same color, adding in little more lighter Cloud effects randomly and blending it into the base layer of the sky. I'm done with the clouds almost. Now. We'll be adding the details into the Fed Meadow space. We have to add in a lot of greenery details, as well as the rose flower that will be adding in. I'm just adding in little yellow highlights randomly into the blue space of the sky. Just very little, not much of it. I'm going to give it a well blended look. I'm not going to keep it bold effect. Now shifting into my round brush, I'm picking up the black color again and I'm going to begin adding in the simple stock leaves, taking it a little towards the Cloud space, trying to overlap it on the Cloud so that we have a perfect transition happening out there as well. I'm not going to take it much and cover up the entire Cloud just at the meeting point of the cloud and the black line because you can see a little of the uneven blue space in-between, which I do not want. Now, next on top of this black space, I'm going to go ahead with the green colors and begin adding in the overlapping green effect. Nice for that, you have to be sure that you're Black space first is completely dried only then beginning with the green color are the ones you will not get the effect of the green on the black tone. So I'm going to hit with a medium tone sap green color, which is on my palette. Just blending it well, make sure you use it in a bowl consistency so that you have the effect visible. Now, I'm going to just go ahead and adding simple dabbing leaves like these onto the entire Black space somewhere. You can see I'm just going ahead with a lot of green dabbing closer to each other. This is very natural, very random and very moods effect that you have to add in. Now again, this is just the first layer of the green that I've added in. You can see towards the bottom side, I've given in more of the dabbing. And you can see that effect of a fully clustered Grass space. You can see Now picking up a little of the lighter greens, I'm adding in little lighter dabbing effect as well, very little, not much for now, just going ahead slowly building in the basically of other Meadows. We still have to add in the roses and then I'll listen more leaves as well. So this dabbing also, you can see I'm just using the tip and dabbing it. I'm not blending it all too wet, Kader. I'm just keeping it grow and loose. Now using the smallest size brush, I'll begin adding in little leaf details as well. I'm just going to begin pulling out simple Strokes and adding in simple leaf and just beginning to add in little, little Strokes step-by-step. Similarly on the right side as well, I'll just begin adding in simple leaf strokes like this to begin adding in the depth of the leaves to the Painting. Now in the center as well, I'm pulling out little of the List stores overlapping the Cloud space, but our nature I do not see go too high and cover up the entire sky or the Cloud. You can see I'm going with simple ones to police by pressing the barriers, the brush, and then lifting it up once I'm satisfied. Now shifting into the lighter green color, I already have a lot of hydrazine on my palette. I'm just going to go ahead with the same light key and begin adding in some strokes with the light green color overlapping the darker green strokes that we've already added. So now at the bottom also you can see I'm beginning to add in these leaves very loosely. You can see now the base TO greens that you've added is automatically beginning to add in so much depth to the painting when you're beginning to add in these simple one stroke leaves out your. So towards the left side as well, I'm quickly adding in little of the leaf Strokes and then I will move on to the layer of roses. It's going to be Pretty simple as we've already discussed in the technique section. Just very simple, lighter basically are. Then going ahead with spiders. Again in case if you've missed the Techniques Set shinny, I would recommend you to first go ahead, have a look at the Florals technique section and the leaf technique section, which will help you understand all these different types of leaves and the Grass elements that we've added, as well as help you understand the method for adding in the roses. Now I'm picking up a lot of the white color. I'll begin adding in the layer for the roses. So I'm just picking the white separately and I'm going to pick this up in a bowl consistency, not going to add in much of what also makes sure that you are basically of greens are completely dry before you begin adding in these roses. So you can see for the base layer I'm creating in very just random shapes out here for the roses. This is going to be the base year for the rows on top of page. We're going to add in the details to these rules. Now again, be sure of one thing that you do not add a lot of it altogether. I didn't notice in a scattered mannose so that, you know, oh, you know where you need to add more and you do not overdo any specific one space. So it's important to scattered and add in part by part, we can always add more, but, you know, removing anything ones added is a difficult job. Now I'm quickly adding in some more roses here. And then we'll wait for this base layer of the roses to dry completely and then move on to the next veer off the roses to add in the detail. Someone was done adding in the base year for the roses. We'll have to wait for these roses to dry completely. Also, you can see I've added these in different sizes, different angles. I have not kept them off the same size or the same direction. Now my base year of the roses are completely dried, so I'm going to begin adding in the next layer. Now you can go ahead with any color choice of your wish for adding in this next video. I'm going to go ahead with a little bit of the yellow first. And I'm just beginning to add in the simple spiral that we had discussed in the technique section. I have discussed this in details in case if you want to can just go ahead, watch that part and understand the layout of these roses. After this layer also, I'm going to be adding in one more color layer on top of these roses to add in more depth. So this is basically the second layer that I'm just adding you. Now again, I will wait for this yellow spaces to dry forest and after they are dry completely, move on to the next layer. So for the next layer, I'm mixing in the pink, orange and the white color to get a neon pink kind of a camera. Once the yellow layers are dry, I'll begin adding in the details, the same spiral look with this color now. So my base is almost dry. That is the reason I'm beginning in with this color now. I'm just going ahead with little strokes of this color mixing chart at the White and the yellow, both are visible giving the depth to the roses. Adding in the details. After this, we'll see if we need to add in anymore roses at any specific space or dispatches, good to work. Now randomly at whichever space I feel that I need to add in a little more just of the color methods. I'm just adding in little color topless to show some of the Roses still in the booming stage. So unit you can just drop in such small color droplets like this to actin as the roses, which are just a depth norming stage and hence not visible in detail. I'm done adding in the roses, and now I'll quickly go ahead pick up a lighter green color and adding little leaf Strokes to these roses as well. Like attaching a few leaves to the roses randomly. It's not necessary to attach to each of the roses. You can randomly attached to a few of them to give him the details, look through the rows as well and trying to show it perfectly into the Meadows. Now again, you're free to use in as many color variations you want for the green spaces, all the roses, you can have all multicolored Meadow space of the Roses. And you can go ahead with a single color if you wish to. It's absolutely your choice. You are free to go ahead with the colors of your choice. The most important thing is about understanding the technique and the methods rather than the color combinations that you wish to go ahead. So we're almost through this painting for the ETA as well, just some last week least stores before we be lost the masking tape and see you find them painting for day eight. Now lastly, I'm just going to add in a little splatters at the bottom space with a yellow orange color. And then we'll peel off the masking tape, make sure you cover up the side. If you feel that, you know the splatters me go into your skies piece for using my graph cannot have just covered up the entire skies keys. I'm just going to add in little random splatters out. So that is it. Let's remove the masking tape and see your final painting. Make sure to peel off the masking tape against the paper in case if you're using both sides of the sketchbook coin very carefully so that you do not tear off the other side, which you've already painted. Our final painting for day eight, a beautiful Rose Meadow. I hope you guys enjoyed painting this easy meadow and easy method of painting these roses in an abstract pattern and the cotton candy Cloud. I will see you guys soon into the last two class project. If you've joined this class and if you live like this class for whatsoever reason, please help me interpret, review so that it can help me reach maximum students. Also, if you've painted along, do not forget to upload your class projects we would love to see altogether. Thank you so much for joining me. 11. Day 9 - Wildflower Meadow: Hello everyone. Welcome back to day nine of the 10-day Meadow Painting Class. We are just two days away from closing this ten day challenge. Today we are going to paint a pretty T sky tone. So I'm going to be using in the blue and orange color combination this time for the sky. So I'm going to use these Pretty pistol sky blue color. Along with that, I'm going to be using this orange, which I'm going to mixing white to get a pistol orange. You can even use a yellowish orange color if you wish to. Directly beginning in with a Colors know Pencil sketch, nothing. Painting in with the blue color at the top of the sky. Now, orange and blue mixed Gibson muddy tones. I'm going to even use a little bit of light in-between for Blending. Now, our blue is Altarpiece still blue, so it may not give him that much muddy tones if we directly mixing up face to orange. But in order to not have any issue later on, it's better to use in a little bite in-between for Blending. Now underneath the blue, I'm blending in with a white color. And I'm just going to go ahead and get a little gradient to the blue and then move on to the orange color. Now for the orange, I'm forced Mixing invite with the orange on my palette so that I have a pistol yellowish orange color. I already had a little of the yellow in that same Pan where I'm mixing in the orange color. So if you want, you can directly using a little bit of orange color or yellowish orange tone directly. Now I'm just adding in a layer force. Now I'm going to define the horizon line as well. To start off, this piece is going to be the sky and one-third bottom is going to be the Meadows piece. Now, Blending between the blue and orange, you can see it's very rough at the moment. For that. I'm going to pick up little White and Blending both of these now. So at the meeting point very carefully, I'm just going to run with a white color blending in both of these together. So we're ready with a Paisley of other skies. Now we're going to beginning with the base year of the middle. We'll add in the Cloud details to the sky once the sky BCR is tried, that middle space, I'm going ahead with this green color. Now, as I have been telling you for all of the Class Projects, you can go ahead with any tones of green for the base here of meadow. You can create it a multi-color basically over the Meadow space. It's absolutely your choice. Color variations with the greens is a plea that you can go ahead with. Now very carefully have defined the horizon line with this green color so that I know this basement father sky and Meadows pasteboard separately. Now I'm just going to go heavy for both of these to try and then move on to the next layer of details. Now my base here of the sky is completely dried, so I'm going to go ahead with the details of the clouds into the sky. For that, I'm picking up more of the white mixing into the same yellow, orange mix that I had to create a further lighter mix to begin adding in the Cloud details. Now so that the colors of visible already on the Bezier Carlos, you either need the dark in the BCL colors are lighter, the PC0 Colors as per your choice. And for speaking up a little darker consistency. So this is purely orange mixed in with white without any yellow. So you can see it's visible onto the yellow, orange color layer that we had, and it will be visible onto the blue color layer as well. Now when you begin adding in these details with the clouds unique to go in very light handedly, make sure that you're paints do not have in a lot of photo. So I'm just going ahead with very little small strokes you can see creating in the Cloud practice at the age is I'm going to blend these into the base here as if you want. You can keep them cold enough, standing out onto the sky. But I like a little bended look off the clouds on the edges into the base layer of the sky. That is the reason I'm going to blend these clouds into the base layer later on. Now, next, going ahead with a little Orange onto the blue color. Now when you go ahead with the orange tones on the blue boy with a little light hand, I'm picking up the yellow, orange mix now for the blue colors piece, because even this will be visible on the blue colors. I'm going very light handedly, if you will, add in a lot of pressure, that Bayesian color will begin to get activated and then it will mixing with the top layer that we're adding in. So it's important while during you go ahead with a very light hand with all of the Strokes so that the BCL color does not get activated. Because we are working with Gouache, which is a water-soluble medium. If you add in a lot of pressure, the base you will get activated again. Now beginning with the blue color and beginning to add in Latin of the Cloud details into the sky, you can see very simple flower shapes closer to the horizon line. Then we add in the details into the Meadows piece. A little of these clouds will get covered up. So make sure you add it accordingly that after the green and add, the Cloud is still visible. So just two small clouds onto the horizon line. Now just adding in little more blue tones to these. Now with the same blue color, just adding in some lighter strokes on the orange color as well. To give him the blue depth of the clouds. I'm using a very light orange tone and closer to the blue, I will blend these as well. So you can see just the same colors that we're using button, different tonal variation. The highlight on the cloud effect into the sky. And you're using Pretty simple strokes to depict the cloud effect. Now with a little darker blue tint, I'm beginning to add in some clouds Strokes over the blue color with this darker blue dot. Now quickly using a damp brush, it just blend these little into the PCR because as I told you, I've not want a bold look. I wonder you get blended effect. Now using religion of the darker blue color, I will begin adding in little highlight onto this blue cloud that is added. So just with a little darker tint on the edges, I'm just giving in some brown Calvi heat to add in little more detail to these clouds. Now next let's beginning with the base layer for the Meadows. And I will go ahead to the next layer. So I've picked up another green tone now. Now this is a sap green color from this set. Now using this file, Round brush and using this sap green color with a little mix of the black in a bowl consistency, I will just begin dabbing in giving in the dry brush Grass effect. Now for this Grass effect as well, you can go ahead with vitreous color combinations of the green of your choice. You can see I'm overlapping it on the horizon line that is taking this into this ISPs as well so as to give it an actual loop because if you will add it in a straight line, it will not give a natural log of the fee. So quickly adding in a base here of this into the entire Meadow space, we're still going to go with a lot of DTAs. Even be adding two to three pine trees this time Next, using in this cytokine mix on my palette, I'm beginning to add in details out you're very simple. Dds does emotion just to different colors. I told you. Give it a little more depth. Now I'm shifting into my smallest size down Brush, and I will begin adding in little details, but this darker green color mix, which is a mix of the sap green along with the black color. Now what first beginning to add in the pine tree? So I'm going to add one pine tree on the left and one on the right. So I'm just marking out the space for us now quickly using in this point Round brush again, I will add it a little less detail, then added little detail for List with the round brush. So you need to make sure that your pine tree takes the shape of the triangle. By the end of year two, you begin with a pointed tip and moving downwards, you keep on broadening the length of fit of these pine tree it to form a triangle. Now using the round brush, I'll just begin adding in little detail foliage on top of this are quick foil is that we added it. So you can see this makes the task very easy and then you can just add in little highlighted for light effect like this. Now I'm going to go ahead with some tiny by Nietzsche's at the horizon line, your very randomly. I'm not going to cover the entire horizon line with these pine trees, just a little space. But make sure that you let those blue clouds be visible. Even if you're adding in their, make sure you added in such a way that the blue cloud highlight is visible from behind the horizon line. Now you can see I'm adding very tiny pine trees. Your, I'm making sure that I vary the height throughout. I'm not keeping them off one same height. So you need to make sure you have the variation to make it look natural. Now picking up this lighter green color, I will begin adding in the next layer of details of the three. So I'm picking up this coiled round brush again and with this green color, I will again add in little foil, this affordability of our little dry. A little will then be added in the pine trees. Now with this lighter color going with the same motion, I'm done adding in the light of Vena. Again, you can see it's a battery or lose kind of a detail that we've added it. Now, mixing into the greens, a little bit of the white and the greens to get a little paste and bring a tone. Now again, as I told you, you can go ahead with any green tones. I'm going ahead with very random color of greens on my palette. I'm not even valid which greens are mixed into this origin of black, white. I just want different variations of the green color to make my Meadows piece look more nitrogen. Now with this green tone, I'm going to begin adding the foliage effect. I'm just going to add in little more of the white because I feel this color is not visible on the base layer that I already have in. So as you can see, I'm going with very loose Dwarf only at the bottom space means you're not covering the entire Meadow space with these Grass talks? Because of, I need to make sure that basically are all dry brush technique that we've added is also visible. So I'm just going to go, heck, is the center of the meadow or a little about the center line of the Meadows piece and adding these Grass torques. Now I've picked up the lighter green blue, which I'm mixing a little of the white again. So now you can see that it's still visible perfectly. Now along with the Grass Strokes, you can see I'm going ahead with very simple leaves as well in-between very loose leaf details. I'm going to quickly go ahead, add in little more off the lightest of details with this different tones of three. Now I'm not specifying the greens because I've already told you you can go ahead with any green makes. You just need to make sure that they are visible on the basis on which you're adding them. This time for the Florals, we're going to add in very simple Wildflower detail, which is going to be pretty, pretty, pretty simple once just adding in the color randomly, like it's just flatten off the colors that you want to add into actin as the wildflowers. Now, just adding in some one stroke leaves that we've already discussed in the technique section. But I'm just making sure that the colors of visible on the Grass Strokes as well as the PC0 green details that we've added in. Just added in more of whites to this green to again get a little lighter beam so that I can add little more highlighted Strokes after Grass, you're in the Meadows. Now I'll wait for this entire Meadows piece to dry and then we'll begin adding in the Florida DPS. Now let's begin with the Florals. Before that, I will just add in little lighter green highlights at the top space. Again, you are because I feel a little unsatisfied at the top space here. You can see if it Gouache, It's so easy to go ahead with the layering again and adding the details and correcting or leering. And you're not covering up any detail that you wish to. Now without further lighter green color, I'm just adding some leaves talks you can see how this lighter green is popping onto all of the green details that I've added so far. Adding in so much more variations to the field space. So we don't Meadow while working with Gouache, It's just FUN playing along with different tones of greens, adding layers on layers, creating in the depth, working with different tones, working with different details of the meadow, the dabbing technique, the simple Grass Strokes, these leaves Strokes Now let's begin adding in the details of the Florals. So I'm beginning with the pink color. Now this is already a pistol pink color. So for the first layer and beginning with this pink directly, for the next layers, I'm going to add invite to this pink to add in the details. So I'm just using the tip of my brush and you can see simply I'm dabbing very random shapes on to actin as the Florals. So that is the Wildflower Field that we are going to add in this time. Again for these Florals also, you can go ahead with any color combination that you wish to. It need not necessarily be the pink tones that I'm using. You can go ahead with combination of yellow, blues, pinks, violets, whichever color you wish to further Wildflower Field. So you can see how quickly I've added in the first layer. Now I'm going to mixing white to this Pink and get a lighter tone of the pink color and begin adding in the next year off the wildflowers. Now this next year you can see I've added some their overlapping the first video somewhere separately from the first. So you need to add it in such a way that it makes it look like a wildcard feet, you can go ahead with little overlapping and a little distance as well. Now for the third layer of the Florence, I'm going to go ahead with this white color over the pink color to add in more of the details. You can even use in a little bit of a yellow if you wish to, as I told you, along with the pinks as well. Now this White also you can see I'm adding in such a way that somewhat, at some places it's overlapping onto the pink balloons and another places it separately from the pink tones. So it's absolutely your choice how you wish to take it. Now, I'm keeping the wildflowers. You can see on the, at the bottom side, I have not taken it much towards the top side. If you want, you can just add in a few drops at the top species as well. Or if you want, you can keep it clean at the top or closer to the horizon line. Now I'm just adding some darker pink highlights at random places. So I have a little dark pink on my palette, which I'm using to add in little highlighted effect. We're almost through this Class Project, a pretty Wildflower Field for D9. I left the sky. I love how news and random. These are dried flower, Wildflower effect. Look, say. Now to merge everything together, I'm adding it to leave Strokes closer and blended along with the wildflowers who asked you to all of them in sync with each other. And I think you to lose Grass Strokes and spell at the bottom space to blend all of it together. Now using a little darker green also, I will add in little highlights. Now. I'm taking some Strokes taller, but I'm making sure that the clouds are still visible. So very loose strokes that I'm taking towards the sky, but you can see that blue sky is still visible. I'm just adding the last highlight with the leaves and then we'll quickly removing the masking tape and see your final painting for the nine. So now let's peel off the masking tape and see your final painting. Make sure you peel off the masking tape against your paper so that you do not tear off the edges. Also make sure that your edges are completely dried before you begin peeling off the masking tape so that you do not lift up the colors and tear off the edges. Yours. A closer look at our painting for D9 of these 10-day Meadow challenge. You can see the Pretty clouds in the sky, the orange highlights onto the blue. I hope you guys enjoyed painting this with me today. I will see you guys tomorrow into the last class project of this series. Thank you so much for joining me into this Class. 12. Day 10 - Daisy Your Way & Thank You: Hello everyone. Welcome back to day ten. Today we're going to paint a beautiful day sky using in the blue, white, and the violet tones. We're going to begin with the blue color for the sky and moving towards the bottom side for the clouds will be using in the violet color later on. So let's begin with the blue color first, I'm using this sky blue color, which is already a pistol tone of the blue color. In case if you do not have such a color, you can simply mixing white to your surrealism, blue and getting a similar looking light blue sky shade. This time also the bottom space will be the Meadow space and the top will be the sky at all. So approximately two-third and one-third is the ratio that I'm going to go for this one as well. Now we're on to the last class project of this series. And we've tried to Paint in quite different kinds of Meadows with different details, but the techniques coming in same. So closer to the horizon line you, you can see I've lightened up the blue tone a lot and created a very light blue tonal variation. So at the top I have the dark blue moving towards the bottom side. You can see I've used in a lot of fight and diluted the blue color to get lighter tones of the same blue color. Now at the bottom space will be the Meadow space will be using that lilac kind of a color for adding in the Cloud effects later on. So now beginning in with the green color and I'm mixing in a little tinge of the black to the screen and I will begin adding in the base layer for the Grass true. So just going to add in a flat layer and define the horizon line as well. So as you can see this time, I've not taken the horizon line in a flatline, rather, I've taken it a little in a curvy manner because we're not going to be having in any mountain ranges on the horizon line or anything. So I wanted to keep the Meadow space a little natural by keeping it a little crooked and shape. Now this time for the Meadow, I'm going ahead with Section paintings. I'm going ahead with the light green color on the left side here, on the right side are closer to the light green color. I will go ahead with a little bit of the yellow ocher color. And then at the bottom space again, I will go ahead with the light green tone. I am blending the colors one-by-one to get up, but later on I'll blend them all together as better without any sharp lines are uneven edges. So just giving this a little blend. Now I'm going to go ahead with the darker green color again that I used at the top and fill up the entire bottom space. So I've mixed in the green and the black color to get such a tone. Now you can go ahead with any tones of green, as I told you. Now, just using a light hand, I'm blending the colors well with the dark green color so that I have a smooth layout. This time for the Meadow space, I'm going to keep the leaf and the floral details only towards the bottom, darker green side. I'm going to let this Meadows pays off the light green and yellow ocher color be visible at the top to give him the depth to the Meadow this time. So you can see how I've blended all of these slowly together by lifting up whichever colors was needed again. So you could see I picked up a little of the yellow ocher again while Blending so as to get that Blending smooth, ongoing. Now using the violet color and the light purple color, I'm going to begin adding in the Cloud details. So you can just create in that lilac kind of a tone by mixing in a little bit of violet, pink and the white tones So using this color, I'm beginning to add in a cloud line closer to the horizon line. Now closer to the green color, you will have to go in a little carefully because this time we do not have a straight horizon line. We rather have a very curvy kind of a field space. Now in-between, I'm picking up a little of the darker tone of the same mix by just adding in little violet color so as to have little transition. In the same way, I'm going to keep on Blending lighter and darker tones to create depth into the sky. Now closer to the Meadow space, you can see I'm going very carefully just using the tip of the brush and blending things very smoothly into each other. I'm going to add this cloud line with the violet color through the entire horizon line. As you can see, I'm going very carefully in-between. You can keep on changing the tones of the violet color. You can see I'm just adding in little bite or the violet more to keep on creating lighter or darker tones. I'm using the smallest size, Round, more blending brush so you can see I'm able to get in those draft cloud shapes at the top. You can even use a filbert brush for same if you do not have a similar mop brush. Now at certain spots, I'm going to just add in White creating lighter tones in between to create little more depth into the clouds. So very randomly you can see I'm picking up White and breaking the clouds in-between to create the depth. Now just adding in little cloud effects, just about this cloud, very smaller ones using the tip of the brush and just very little paint. I'm not even lifting much of the paints. Now I've picked up a little of the white tone and I'm going to add in little white highlights over the top blue space. So this is not a violet color, it's rather just a very, a whitish blue tone that I'm using your to add in little cloud depth. Now using the damp brush, I'm just going to blend a little of these edges into the base layer so that it has a little blended look into the sky. So I've just lifted a little of the white tone and I'm just blending the edges into the base layer on the edges you can see somewhere I've kept the sharp edges and some that I've just blended them a bit. Now using indifferent tones of the green color, I will just begin adding in Grass talks like this. I'm using a liner brush this time so as to get these fine strokes, I'm going ahead with a lighter green tone. You can see it's visible perfectly on the darker green color. I'm going very randomly with these strokes as you can see, and I'm trying to move in all different directions in-between randomly. I'm even adding in some thicker strokes like these, some smallest Strokes and bigger Strokes. Now some places I'll take the Strokes or little taller moving into the sky as well. And closer to the light yellow and the yellow ocher space, I'll try to maintain minimal details because I want to want one dose basically has to be visible in itself. Now using a different tones of the green, I'm going to go ahead with the same step. You can see I'm taking a few often Strokes into the sky space as I told you previously. And I'm going ahead with very different tones of the green color. Now, I've taught in space, I'm adding in little off the foil effect as well to these Grass Strokes. I'm not going to add in much to all of them just to fool a few of them. Now for the grassy area, the main thing is going to be the color variations and the beauty that you try to get in by making it look natural. So you will notice, I'm going ahead with very random tones of the green. Again, this is just the photosphere of the greens that I'm working in width. I'll even be going ahead with a lot of lighter green details and then move on to the floral details for the Meadow space. Now this time before I move on to the next green tone, I'm even going to add in little highlights with the brown color into the Grass pays the same Strokes that we're going ahead with the green tones. We're going to do the same with the brown tone. So I already have a little of the burnt sienna on my palette to which I'm mixing in a little bit of the yellow ocher color and a little bite thin so as to get a little basal brown color so that it be as visible perfectly onto the green tones. You can see, I'm just adding in these as a kind of highlight in-between the green tones, some dried grass stroke effect. This is creating in such a different view, as well as a depth into your Meadow space. Now randomly in-between you can see I'm even playing along with the tones of the brown by just lightening it a bit and darkening it a bit. Now, in the same way, the details that I added with the green color, I'm going with the same kind of details with the problem color. Some of them are overlapping on the green tones. Some of them are visible separately. So that is how you're going to get into the natural beauty of the Meadow. Now I'm picking up this lighter green color to add in little lighter green effects as well. I'm going to go ahead bit lighter green similar Strokes now. Now as soon as you add in these lighter green highlights, you can see the actin as the highlighting stroke onto the entire Meadows piece, as well as creating in that bold, the effect into the middle, giving in that pop of color. Now with this lighter green stroke, I'm going to go ahead a little less and I'm because I do not want to cover up the entire brown and the darker green spots. So you can see first green color. We went ahead with lot of details. Then with the brown, we added lesser Strokes. Now with the lighter green color, we'll be adding in further lessons Strokes. So as to make sure that all the three Calloway ideations that we've been using so far be visible clearly. Now with the same green tones. I'm just beginning to add in some leaves us, well, you can go ahead with different tones of greens for this as well. Absolutely your choice. So I'm adding one bunch of leaves your Now randomly at other species you can see I'm pulling out simple one stroke leaves that we've already discussed in the technique section. Now using a different tone of green, I'll go ahead with some more of the leaf Strokes. So I'm just going to pick up this darker green tone now. I'm just going to go ahead with similar Strokes randomly at random spots. Now for the leaves also you can see I'm going ahead with the overlapping technique. You need to wait for the first layers to dry. Or else you need to go in very carefully such that each layer color is visible distinctively and does not create just a mix of a random color Now using the white color, I'm beginning to add in very simple daisies. Now I'm going to keep the disease majorly at the bottom side here. I'm not going to take them much towards the top side. So we've already discussed the disease as well in the technique section of the Florals section. We've also added daisies to one of our previous class project. So you know the different perspectives and angles of adding in these daisies. Now again, you are free to change the color of the Florida as per your choice. I wanted to keep it wide because with the blue sky, the white Florals when looking very pretty and bright. So that is the reason I've kept the color of the Florals as white. But if you want, you can go ahead with orange, white or yellow daisies, whichever you wish to. Now, as I have been telling you since the past ten days, again, one more thing that do not add in a lot of Florals altogether. Go ahead slowly adding in the details with the flowers. Go ahead, add in a batch of laws. See if you need to add anymore, because you don't want to overdo a detail. It's very difficult to turn back and, you know, cover it up. But once you've added less of anything and then you wish to add more, you are still free and you know, possible to add in more details. So it's always better to go ahead with details step-by-step and slowly rather than rushing with one similar kind of detail altogether. I first added in the DC scattered and then wherever I felt the need to add in the disease to fill up little spaces. I went ahead with the next set of disease will be adding the bots to each of these daisies as well. Also, if you notice, I've gone ahead with different sizes of the disease. I have not kept the disease of the same size or the height. To us. I've tried to be the height as well as the size throughout so as to make it look natural. Now my Daisy is a completely dried, so I'm going to go ahead with the yellow ocher color to add in the back to the Florals. With a yellow ocher, you can add in a little tint of the brown if you need to get a little lighter burnt sienna color. Now to the center of each of the Florals, I'm going to quickly add in this bad detail, even adding in the bud detail we've discussed in detail in the technique section. So in case if you are new or directly Joining in into our last class project, you can first go visiting the Florals techniques section, wherein you're getting all the details about the Florals that we've used in these ten days, that different kinds of Florals, the angles, the perspectives and viewpoints and how we're adding in these details to the Florals. So I'm done adding in the budget as well. Now I'm again going ahead with the white color and at random places wherever I feel I need to add an algal more of the Florida detail. I'm quickly going ahead with a little few more disease you are in there wherever I feel the need to. Now again, when I'm adding in the next layer of disease also you can see I'm going ahead with different angles and perspectives. I'm not keeping the Daisy's of the same size, height, or the angle. Now quickly to these new Daisy says, Well, I'm just adding in the details of the buds and we're almost through the Class Project. It's the last class project of this series. Now using the darker green color, I'm quickly adding in little stem detail to all of the disease that we've added some just pulling out smallest times like this into the bottom space with a little darker green tone so that it blends well into the Grass piece as well as he gives him that stem loop to the Florals. So randomly at certain places you'll see me adding in some extra strokes with this darker color to show all of this well blended with each other. Now make sure you add these in such a way that you do not cover up the bottom Grass trend, the leaf Strokes that you've already added in. Now using in the white color, I'm quickly going to just add in little cloud highlight. So I'm going to blend these into the base layer to create little lighter spots into the Cloud. So I'm just adding in the layer of the white in a little cloud shape and then quickly using the damp brush, you can see I'm blending the edges into the base layer of the sky. We're done adding in the little highlights as well into the clouds. Now let's remove our masking tape and see your final painting with this clean edges. Make sure you remove the masking tape against the paper and once your edges are completely dried or else it may feel of your edges. So you ask the final class project for this ten days Meadow series using in the gouache paints. In the next lesson, we're going to have a quick flip through of all the ten paintings we did in this challenge. If you've joined me into this class and painted along with me, makes sure to upload your class projects into the project section. If you've loved this class, make sure to drop me a review so that it can help me reach maximum students. Thank you so much for joining me.