10 Days Gouache Challenge Inspired by the Winter Season

1. Welcome to the Class: Hello everyone, Welcome to the first class of 2023. I hope you're having a wonderful start today. My name is bile. I'm an artist and an art educator based in Bahrain, originally from India. You can find me on Instagram at the simply aesthetic where I'm constantly sharing my love for art, posting about any upcoming workshops happening online and offline, selling my artworks and a few handmade products. If you've been following me in my art journey for the past two years, you know that I am in love with the medium gouache. Along with me, a lot of you showed interest in learning about the medium as well. And keeping that in mind. I am so excited to bring to you this class, which is also a ten day gouache challenge. Starting today for the next 20 days, we're going to explore the winter season by painting then gorgeous landscapes together. Before we move on with our class projects, I will brush over the right type of art supplies that you need when it comes to painting with the medium gouache. And along with that, I'll brush over some quash techniques that will help you understand the medium better. We'll also do a quick exercise on painting clouds and different types of trees and adding textures to them. And using our basic knowledge will start off with the first class project. I will be uploading one class project every alternate day so that it's not a lot of pressure on you to keep up with the challenge. You'll have ample time to finish one class project before the next one goes live. Everything in this class is explained in real time, which means you can join this challenge even if you're a beginner. This class covers a lot of cool tips and tricks that will help you understand so much about the medium gouache. So if you want to kick start this year with a really fun challenge, then gather up your supplies, setup a cozy painting environment, and join me in the class. See you. 2. Materials Used: Let's talk about all the art supplies that we need for today's class. I'm going to discuss the pins, paper brushes, and all the other things that you need to get started. The first thing that we're going to talk about is the sketchbook. I'm going to be using a sketchbook instead of loose sheets, but you can use loose sheets as well. Feel free to use them. So I'm going to use this sketch book, which is called the sketchbook from fairytale art. I'm just trying to look for the description of the sketchbook, but I found the paper. So it's a 320 GSM paper. It's 100% cotton. Now you do not need to go for this specific paper. Gouache is very versatile. It can work on a lower weight of paper as well. So you can go for 25280, whatever. And it works out perfectly fine. It doesn't have to be a 300 GSM paper. I just really like the texture of the paper and the sketch just feels really nice to me. I've used this in one of my previous classes. This is a new sketch book that I'll be starting off. And I will be using the sketchbook. Feel free to use loose sheets or any other sketchbook that you might like. Everything works for this class. It doesn't have to be exactly the sketchbook. Alright, so we're done with our paper. The next thing that we are going to discuss is our paint, right? So I use these paints from Winsor and Newton designers, gouache paints. These are my favorite quash paints. Obviously, you can use any brand that is available with you. It doesn't matter. And you can use it in any form. It can be the ones available in jars or the tube ones are the jelly cups. Any brand is completely okay. The idea is to just have fun here. So I'm just going to use a very limited color palette. So I have this shape, primary red, and next I have Prussian blue. This blue is my favorite to work with. I end up using Prussian blue a lot in my artworks. But if you don't have Prussian blue, you can always use any other blue that is available with you. Next, I have cadmium yellow. It's a very nice, warm yellow color. Next I have ultramarine blue. I have used ultramarine blue only in about one or two class projects that we'll be painting. If you don't have ultramarine blue, you can always switch to cobalt blue. Next I have jet black, which is a nice deep dark color. Next I have burnt umber. So usually for my trees, I end up using a mixture of the jet-black and the burnt umber. Lastly, I have this big tube of titanium white from Bruce. Bruce, true? I really like how opaque this color is. Booster is a good brand, so it works out really well for me. So this is all about our gouache paints. You can always use gouache in any form, like I mentioned earlier, feel free to just use what is available with you. Alright, now that we're done with the pills, that is discuss our brushes, I'm just going to be using a very limited set of brushes. I just have a flood brush along round brush, and a thinner size brush will have a size 14 flood brush, which I'll be using for all my background washes. Again, this depends on the size of my paper, so the size works out really well for me. Next I have size six round brush. Now, if you've been following me for a while, you know, I love this brush. It gives you these really thick strokes and also comes to a really fine tip which gives you all the little finer details that you can get and get an even more detail. And I'll be using this size zero, a round brush. It again comes to a really fine tip when it's wet. And it's really good for all the finer details. As you can see, it has a really, really thin tip. So you want to go for a brush that comes to that depth that you can add in all the finer details in your painting. If you don't have a brush that comes to a really fine tip, don't worry, you can always do gophers sizes of brushes that are about double zero, triple zero because that will come to a fine tip. Next I have the spoilt brush for all my texture works in case I want to show some foliage in the background. I end up using this for that nice drafts effect for the background. Alright, now that we have discussed our main supplies, tennis, talk about the other few things that you'd need. I have this plate. It's a ceramic plate, which I like using four as a mixing palette. So you can use any mixing palette that you want. Make sure that you have two jars of water available with you. One is for rinsing your brush thoroughly, and one is to load up your brush with some freshwater. In case you are going to suppose you two primary colors and you don't want to mix up. So it's always good to have some clean water next to you. Along with that, I have some kitchen towel. You can use a cloth, rag, tissue papers, whatever you have around you. This is only to get rid of the extra paint that is on the brush. Lastly, I have a masking tape, some pencil and eraser. And this is pretty much it. These are all the supplies that you need for the class to get started. So gathered up and I'll see you in the next lesson. 3. Gouache Overview & Techniques: All right, let us talk about the medium gouache. So what is gouache? Gouache is an opaque medium with hearing capabilities of acrylics, and it can be reactivated using water, just like watercolors. It has a beautiful matte finish. Once it's dry, it's not finished. It can be easily digitized. And that is why a lot of illustrators prefer to work with the medium. In gouache, darker colors, dry, lighter and lighter colors, sometimes dry darker. It is a very versatile medium as you can fix your mistakes by just re-wetting the paint and starting over in wash when we want to tone down the vibrancy of the paint, we add white and we add water for a thinner consistency. We always prefer to use freshly squeezed paint because the gouache is opaque when it's fresh from the tube. So I would suggest you always use fresh paint when you're painting with gouache. Alright, now that we have this sorted, let us learn a few wash techniques. Alright, there are four types of gouache techniques that I want to focus on today. One is consistency, blending, layering and dry brush technique. All these four techniques will give you an overall idea about the medium and will also be very helpful when you are painting with gouache. All the artworks that we paint in this class are going to use a combination of these techniques. So I would suggest you take some time out and try this out for yourself. The first technique that we're going to learn is consistency. So what is consistency? Consistency is the ratio between the paint and the water when you just have squeezed freshly from the tube. But consistency of the paint is really thick as you can see here. It's very thick, almost like acrylic paints. This type of consistency will give you these harsh, thick strokes if you brush over your cold pressed paper. You can also use this consistency to add a lot of texture into your painting. Now, I'm just going to dip my brush in water just by a tiny bit and add it on my paint. And as you can see, it pinned down the consistency. If you think it's not pinning it down really well, you can always add a little bit more water into the mix. As you can see, as I add a little bit of what the consistency becomes a lot thinner and it's a lot more smoother when I'm trying to apply it on the paper. Now, remember how it has properties of watercolors as well. So in gouache, when you add more water into the mix, the consistency becomes thinner and the paint starts behaving like watercolors. So if I add more water into my mix like I'm doing here, you can see, I can, when I make a brush stroke, you can see how I'm able to see the white of my paper. The more water you add into your paint. More pin down paint is I can use this thin consistency for glazing. Or when you want to have more of a watercolor effect into your painting, you can always use this consistency. But I prefer using the fourth consistency with just sort of like a milky consistency for my background layer and a creamy consistency for all the layers that I add on top of it. The next thing that I want to talk to you guys about is how you change the tonal value of your color. Now in watercolors, when you want to change the tonal value, you sort of add white into it to make it lighter. But in quash, you cannot do that because then it will change the consistency of the paint, right? So for that, you add white into your mix. Now, the lighter you want your color to be, the more amount of white you're going to add in it. So if I were to add a little bit of white, I might get a slightly lighter blue. And if I had a lot of fight into the paint, I'll get this nice baby blue or a pistol do color. Again to change the tonal value of the color in gouache. Add white. Instead of adding. Now you can play around with a bunch of different colors that you might have around you. Because adding white into your paint really changes the appearance of the color. As you can see over here, I was using Prussian blue. I am using Prussian blue, right? And Prussian blue is a very deep color, but as soon as I bite into it, it completely changes. And a few hours more like a cobalt blue shade. And that's the beauty. Of course, you can really change the colors by just adding white in them. Alright, the next exercise that we're going to do is going to help you understand the blending and layering method. I've taped down my paper on all four sides and created these two little sections. But I'll show you how you can create a gradient wash, which means creating a background color using a single color and having a few different shades to it. So we'll start off with a mix of Prussian blue and white, right? And I'm using the consistency where it's almost like a milk paint, look at paint and the water consistencies almost like milk. And now once I cover almost one-third of the paper, I'm going to add a little bit of white into it. And then I'm going to go in this left and right motion, move it downwards. So each time I go down, I make sure that I'm sort of blending it with the previous brushstrokes that I have. And each time as I move down, I'm going to add a little bit more white into the paint or just take white paint directly and brush it over the section and mix it with the blue. As you can see, I've got this nice gradient of blue where the top part has a nice deep blue color and the bottom part has a lot lighter shade right now to blend all of it together, I will move up and down while going left and right. So going left and right and up and down simultaneously will give you a very clean blend in your sky. If you are not used to the blending technique, then you just have to practice this a little bit. But once you've mastered blending technique, you've almost mastered how to get the perfect shade in the background. So take your time and just get the blending right. The next section, I'm going to show you how to mix two or three colors together. Now, the left side was a gradient wash over here, we're going to have yellow, orange, and that transition into a blue color at the top. So I've taken some yellow and red on my palette. And I'm going to clean my brush and get rid of any blue paint that it might have. Then we are going to mix a little bit of my yellow paint and white paint to get a slightly tone down version of the yellow because it's too vibrant in its natural form. So I'm adding a little bit of white to tone it down. Next, I'm using a little bit of red into the same paint mixture so that I get orange. So the primary red and cadmium yellow together will give you this nice orange color that you need. It's not too vibrant and it's a very toned down orange shade. So now that I've applied it roughly in that side, I'm going to take up a little bit more yellow and white because I felt like that was too little at the bottom. So I'm just fixing that up right now. I'm going ahead with the orange again just to place the shades in there. Next, I'm going to clean my brush and get rid of any extra red, orange color it might have. Then switch to the blue at the top, repeating the step that we did earlier in the previous section. So go ahead with the blue that is darker and then add a little bit of white to tone down the vibrancy of the color and make it light up. You're going to leave this room white bands space that you see. Because in that section we will add white paint. Now the white paint is very crucial at this step because that is going to act as the easier in which you'll be able to blend the blue with the orange without having any muddy colors in the middle. You load up your brush with a little bit of white. Focus on that line first where you've just left it as is below the white band and blend it out with the white. So that is a seamless color transition happening. Once you are happy with that, you can obviously move up and down all the way so that you create a seamless blend from the yellow to orange to the white transitioning towards the blue. This might take a couple of trials. Sometimes it happens when you're trying it out for the first time, but don't be disheartened. All you have to keep in mind is to go in this nice left and right motion. As you can see, I don't go all over the place. I make sure that I make the swift left to right motion with the brush. Pretty straightforward, right? Let your hands be loose. Don't try to apply a lot of pressure because you don't want that, right when your hands are all nice and loose, you get nice blends. And that works out really well for me. I'm really happy with the blend on both my sections. So I'm just going to leave it to dry here. Once it's dry, now that it's dry, we are going to go ahead and paint clouds. So in the left section I'll show you how I add just white clouds in my bright skies. You can add these in any skies. Originally doesn't have to be for this class project itself. And this is what I call the linear form of making the clouds. So I've loaded my brush with some paint and the consistency of the paint is really thick. And it's like almost like the first consistency that we watched earlier. And using that, I'm holding the brush almost like horizontal to the paper at a very acute angle honestly. And I'm just making the strokes very linear and horizontal, right? Almost like lines, but just tapping it in to give little variations. So this is what I call the linear way of making the clouds, but I'm just brushing over some textures on the sky rather. It's not very detailed way of making clouds. These are just some textures you'd like to add in clouds in your skies at a distance where you don't want to show a lot of details into it. Now there are a lot of variations in which you can do this, right? You can add a little bit of shadows to add in some color as well. So it works out really well. And this is also a very nice example of the dry brush technique. So as I showed you earlier, the thick consistency of the paint that you used to add texture on the paper is called the dry brush technique. You can use it in a lot of places like I tend to use it for my clouds. Obviously I'm loading up a lot more paint when I'm making clouds so that it appears a little bit fuller. But when I want to add textures and my trees that I will show you later in this lesson. You'll see how I add texture using the dry brush technique for my clouds. I mean, it majorly depends on my reference picture of how it appears to me. So I just tend to add these linear form of clouds or wherever I'd like, right? As you can see, I'm just making them all over the place. I'm making them very irregular, not very confined in one place. I'm just letting it loose and be in the sky. Alright, so moving on to the next set of clouds, I am mixing a little bit of red and yellow together to get this deeper orange shade that I'll use for the clouds over here. I'm just brushing over some extra water that it might have because this one is not really pick in its consistency. But I'm using the same linear form of making the clouds. In this one, I actually wanted to show you the difference when I said you add in a different color to make it lighter or to show areas at which the sun rays fall directly. And that appears to be lighter in the clouds as compared to the ones at the top which might not receive that light. So this way you can make it appear fuller for the light colors. I'm just adding a little bit of white and a tiny bit of yellow into that same mix. And applying it at the bottom section, which is where the yellow sky is. What I was facing, the yellow of the sky. I'm adding it on that. So that that appears to be the lighter part of the clouds. Adding lighter parts in the Cloud is also another very effective way in which you can show depth in your painting. Now let's say you want a sunset painting. In Sunset paintings, obviously the clouds are going to have a bunch of different shades on it. Some parts of the clouds are going to receive the light directly from the sun. And the ones above might not receive the same amount of flight. And to show that variation, well, you can add different colors on it. Now sometimes when you lay colors one over the other, it might have these sharp edges. Sometimes when the paint is still wet and you're applying that color, It's tends to blend. If the paint is not blending with the previous layer, you can always use just a damp brush to smooth out the edges and it will be perfect. But if it does, it's all well and good. You can also add some floating clouds around the mean Cloud sections that you might see as well. Just so that they appear fuller and not just as one object in the sky. I'm so happy with the way our exercise clouds have turned out. As you can see, we used a combination of all the gouache techniques that we learned, such as the blending, layering, dry brush, and also talked a little bit about consistency of our paint. Now, in the next part, I'm going to teach you how to paint different types of trees that we use in our class project and also how to add textures on them. There are three types of tree structures that I'm going to talk to you guys about today. So the first one is the pine tree, the birch tree, and the normal tree. The color combination that I use for my trees is lamp black and the burnt umber. I don't like using black directly in my painting, so most of the times I mix it with another color to get a deep shade of a certain color, let's say round here for that example. To get that brown shade, I'll just add a little bit of black to get a deeper tone and it works out really well. Alright, so as you can see, I'm mixing black and brown together so that it's not black in its natural form, but rather a sepia shade color. The first type of tree that we are going to paint, the pine tree. Now, we're almost all familiar with the shape of the pine tree, right? It's almost like a triangle. Each time the branch below it slightly becomes longer and wider as compared to the branches at the top. In making these brushstrokes with a brush, you have to keep in mind that you're not only making them in the sides, but also in the middle to give it that round structure. Let's try painting at once, right? I'm going to start off with the center trunk first using my size six long-run brush. I've made my center stroke. I'm going to start off with these little strokes at the top. Now you can switch to a smaller size brush because that gives you a lot more definition. I've switched to my size zero brush, which comes to a really fine tip. And as you can see, I'm removing strokes in the left and right direction and also making these strokes in the center part so that they appear fuller. Now, these pine trees are going to have snow on them. So not really focusing a lot in the in giving them a proper shape. Because of course the snow on top of it, we'll cover a little bit of the tree so it doesn't really matter if you're looking on the ship. One thing that I keep in mind is that the strokes at the bottom of my branch should be visible than a pure like a tree. So that when the snow is on top of that actually can still see those little strokes, right? So I have these brushstrokes coming left and right. And if you see carefully, I increase the size of the branch, make them wider. At the bottom you can have a few branches just there without any leaves on them. And as you come towards the bottom, you can, like I said, increase the whites, white span, span of the tree. The branches become wider. And of course I'm making strokes in the middle. Now what are these brushstrokes? I don't really think about a perfect, I wouldn't say it's a perfect brush stroke. It's just moving around the student for motion, just stopping a cluster of dots. The dots put like random blobs together. But trying to give these blobs are little shape. Make them appear like a branch in your mind tree. I call it the bottom of my tree a little bit, so I'm just having a few more branches in that section. Now there are many different forms, shapes in which the pine tree is visible in nature. But this is the most simplest one that we are going to stick to in our class project. I'm going to let this section dry for now because we will be discussing the next tree. And after all of the base layer is done, I'll show you how to add textures and effects into your tree, such as snow or the texture in your birch tree or your normal trees. So the next type of tree that I want to talk to you got to talk to you guys about is our bloodstream. They have a lot of tongue twisting that's happening right now. So for the birch tree, you will make one vertical stroke and have a few thinner branches patrolling our fade in different directions wherever you want. Really, it doesn't matter so much in what way are placing it. I'm just placing some random branches around the section, not making it appear so filler and the branches are really slim. And then down. The next tree that we're going to talk about is your simple tree actually just what you'd see in nature. Now, this comes in various different sizes and forms. This is not the only way in which you can do it. The idea here is to get used to the brushstroke. Learn to transition between the thicker brush strokes to the thinner brush strokes to get the smaller branch details into it. So right now I'm not going to make so many smaller branches because they're not needed, will work more on them when we're making the class project. And when you have a reference picture for a treat makes it a lot easier for you to follow along and sort of get an idea of what and where the branches are going to go. Alright, so now that I'm done with the base layers of all The three trees that I wanted to talk about, I'm going to wait for them to dry. And then we'll add details to this. Alright, let us start with the first form of texture that is adding snowed your tree. For that, I'm again using my round brush and mixing some white paint. Now this again, the white of the snow is going to depend on the color that we're going with. Sometimes we might add a slightly bluish tint to it. If you want to show the color of the sky reflecting on the snow. But right now we're sticking to white. And I'm tapping the white in this left and right motion on the branch and also in the middle. So as you can see, I'm making some blogs in the middle and some towards the sides, making sure that I'm not covering every bit of my tree, but I should be able to see the deeper parts of the tree as well. So you've got some centers strokes and some sides strokes. And this way you'll be able to add snow in your pine trees. Now, this, It's a very simple format in which we're doing just an example. We'll learn more in detail when we're actually doing it in a class project. For the birch tree to add the texture, I'm just using a flat brush, a smaller size flat brush. You can use a round brush as well. It doesn't matter. Using the dry brush technique, we'll add in the white bits into our bloodstream. Now this bush tree can be done in two formats, which is having white as the base layer first and then adding black textures to it, or black as the base layer and you add white texture to it. So both of these is correct. See what appeals to you more and stick to it when you're adding textures into your painting. Alright, so I'm really happy with the way this looks. Just to make some bits appear more white, I'm switching to a smaller sized round brush, which is my size zero. Then I'm going over the layer so that it appears more opaque because ln white over a darker layer sometimes might dry out great. So to make it more white, you can add another layer of red so that it stands out even more than it did before. So as you can see, we are done with the details in our birch tree. Now we're just going to stick to a little bit of texture in our last tree, which is very simple. Again, using my dry brush technique, I'm just going to brush over the trunk to add in the texture, the trunk. So this is again, another simple way in which you can add texture into your tree by using the dry brush method. And that is it. These are the three trees that we needed to know before we jump right into our class project. I hope you enjoyed watching and learning about the quash techniques and how you can use a combination of these two paint, clouds and trees. We will be using these types of clouds and trees in our class projects. I'm so excited to get started with that. In the next lesson, we'll be talking a little about all the ten class projects that we'll be painting together. 4. Class Projects: All right, before we move on to a first-class project, I wanted to give you a little tour of all the ten paintings that we'll be doing together. We're going to be using a combination of all the techniques that we learned in the previous lesson and use them in our class projects. So let me show you the first painting that we're doing. As you can see, we've used that beautiful blue, yellow sky with the clouds that we've used is used pine trees with snow on them. And a little few elements that we can learn while we're painting the class project itself. In the next painting, we are painting the tree that we learned. The third type of tree, the sky blend is of the second of the tools section that we did with the yellow, orange, and blue. And we've added texture to our tree, obviously painted the color in for our snow. And all of that really pretty class project. And so much fun to paint this one. This one's really pretty. The third class project is this beautiful mountain scape with a dark sky, I would say like a sunset sky. So you've got a little bit of a hint of yellow at the bottom. We've got some beautiful snow effect, right? And we've got some pine trees. The next class project, we are using our second method to blend in yellow and blue together. Along with that, we've added some clouds and added some texture to it, and again made another type of tree with snow on it. The fourth class project, sorry, this is the fifth one. The fifth class project is of this beautiful little forest section where you have these birch trees. If you've got a lot of details into our birch trees, got some beautiful texture going on, on our snow. So a major part of this class is going to be how to paint the snow as well. Again, we've got a bright blue day with some pine trees and texture on our pine trees with the snow on it. The next class project is of this beautiful sunset league. Oh my God, I love this one so much. This is like my favorite class project. I think we've got some beautiful reflection game happening here. We've used the dry brush stroke method for the clouds and some tree and textures on them. The next is this coaches. I would say a road, a snow covered road. You've got trees on either side. We've got some beautiful snow on it as well. Next we have this frosted a branch tree. You can see we've played around with the gray and white to show that frosty effect into our painting. Around with that, we've got some very nice graze in the painting which you can learn when you mix them. There'll be a really fun experiment on how to make this type of gray color. The last class project is off the snowfall route, which I think is so pretty. I was so happy with the way the snow actually turned out in the painting. So we're using a lot of texture maps are a lot of trees and a lot of tapping that we'll learn in the class projects. These are all the class projects that we will be painting together in this challenge. Again, I will be uploading one class project every alternate days so that you can take your time and split this class into probably finished it in two days. So that is not a lot of pressure because I want you guys to learn and enjoy this challenge. Alright, now that we're done with a little brief, let us start with our first-class project. See you. 5. Project 1 Part 1 : Snowy Winter Morning: Welcome to the first class project, which is this beautiful snowy winter morning. The colors that we'll be using for this class, or cadmium yellow, primary red, Prussian blue, burnt umber, titanium white, and lamp black. So I've taped on my paper on all four sides and taking the colors out on my palette and using the pencil B will be sketching out the elements first. Here on the left, I've put the reference picture. You can download this reference picture from the projects and resources part of the class so that you have one for your reference tool. So if you look very carefully in the reference picture, in the background, we have some land space. We've got a horizon where the sky meets the land. But we aren't really clear about what are all the elements in that section. So we're just dividing our paper into half. Then you can see a snow-covered land in the foreground. So I'm just sketching that out as well as you can see. It's sort of like a slope. Right? Behind the slope we have all our pine trees. Drawing each of our pine trees. I'm just placing the taller ones that I see just so that I know what tree goes where. You can do this very roughly. Eventually when you paint over your sketch, it's all going to go because gouache is opaque. But this just gives us a rough idea about what our structure looks like, what our painting looks like. I've just made these very thin lines very lightly. I don't want to have a very dark sketch. It should be very light so that when I apply my layer of paint, it shouldn't be seen through it, right? So I'm just going to apply a very thin strokes, very light strokes with my pencil. And then just get the placement of the trees. If you don't want to make the trees, that's completely fine. As you have the reference picture with you, you can always refer to it and see how it goes. So now that we're done with our base sketch, I'm happy with the way it looks. We are going to go ahead and start a painting for this guy. I'm going to start off with the first shade using my size 14 flat brush. You can use a size 12 or whatever size flat brush that you have. Make sure that it's on the biggest size so that it covers a lot of surface area. For the first color, I'm using a mix of yellow and white. As you can see, there's a good amount of white and only a tiny bit of yellow because I don't want my yellow to be so overpowering. It's just getting to the morning, right? So it's not very, very bright yet. So I just have very, very light yellow color, very pastel yellow color. And I'm going to apply it at the top, Right, right above the line that we made. And moving in the left and right motion. I'm going to slowly move my yellow upwards. Now, like we did in our exercise lesson, moving in the left and right strokes is the best way to blend because it ensures that your base is flat. Next, I'm using a mix of white and Prussian blue. As you can see, it's not a very dark blue. It's a very light blue and that's the shade that we need, a very light blue, leaving a little bit of space between the blue and the yellow. I'm moving the blue upwards instead of coming downwards, I am moving the blue plot. Every time I move upwards, I can slightly increase the amount of blue in my mix so that it creates that graded wash. Now the graded wash can be done both ways. You can go from top to bottom and bottom to top as well. Whatever is more comfortable with you, go ahead and do that. Make sure that you are moving in this left and right motion so that you get a nice clear blend. Here's the swatch for my darker blue that I used. It's just the same. The only difference that comes is the quantity of blue paint in the white and blue mix is more. Now that we have both our colors laid down, what we're going to do is use white to blend the blue and the yellow together. Now whenever I start blending, I make sure that I start off with that line where the blue is at the line where the yellow is, so that that area of paint gets reactivated and starts moving around with the blue and the white. The idea is to get a seamless blend between these colors that transition from yellow to the white to the blue. Now this might take some time, but you have to keep moving in this left and right brushstroke motion so that you go to Create, you get to create a very seamless blend. You'll have to clean your brush every time you bring blew down or yellow up so that you don't get the yellow and the blue area or the blue and the yellow area, right? So just move in this left and right motion. And you should have a very nice, seamless blend in your sky. Whenever you feel a color is being underpowered or overpowered, you can always go back and fix it, add more paint or add more white into the mix and create the blend. Right now I'm really happy with how the blend is turning out. And just want to get rid of a few of the streaks that I see. Other than that, I really like it. So I'm just going to let this dry right here. Now through the sky is completely dry. We are going to go ahead and paint the ground space that we could see behind the trees. Now, I'm not going to focus a lot on the details. Like I said, you're not really going to see exact details in that section, but we're just going to add a little bit of texture and play around in that area. I'm using a mix of brown, red, and white just to create sort of like a burgundy color. And I'll show you all the colors that are making really over here. I'm just playing, I'm just playing with the shades. Are just trying to mix a color that I would try to get using the limited color palette that I have. I've mixed blue and red first, and two that I've added a tiny amount of brown. There's very little brown so you can't really see. So I've used this darker shade and I'm just outlining that section first. And the consistency of my paint is slightly thin. It's not too thick right? Right now. I'm just trying to get in the colors, so I've taken down or use a deeper color at the top, and I'm just using white with the same brush, not adding any other color into my brush. And I'm just using a little bit of that shade and moved it around. And then I loaded my brush with a little bit of black on cleaning my brush using the same shade and moving it around. Like I said earlier, we will just be adding textures and playing around in that area, trying to get in different colors in place. Make sure that you are careful around the section where the snow is. Because I want to leave it white. Because leaving it white ensures that when you add shadows and white quash over it, it's a lot more easier to show up as compared to when you would add a base color to it. Right now again, like I said, I'm just playing around of added some black really over here. Just feel free to do whatever you want. Okay? This entire section that you see, it might look odd right now, but don't worry, because this section is not going to be fully visible right now. It looks like it's all over the place. So I'm just gonna go ahead using my same size 14 flat brush. Add in some darker colors somewhere. Add in some darker greens, some darker blue is play around just to create a section where you see in the far of land, where you might see some hills, some houses, you're not really going to focus on the details here. You're just focusing on trying to get an appearance of land behind those trees. Because there is something behind those trees that is not visible because the trees are the elements of a foreground. So instead of having a really flat ground, I went ahead and made it sort of Halley, just to give that effect, like I said, with the darker gray, I'm adding some more texture in using my brush vertically to the paper, adding in some thin strokes. If you're not very comfortable and confident about that, you can always switch to a round brush as well. Now, I'm using a deeper blue color, again, using it vertically to the paper to get in some texture, some thin lines, very random. Really, it's not a particular way in which it's done, right? It's very random. To be very honest with you. There's not a lot of thought happening in my brain at this exact moment when I'm painting this, because I'm just having fun. I'm just trying to create different colors. Trying to create different sections where there are darker shades, lighter bits, snowy bits. Just having fun. Like I said, this area is not going to be visible. So you shouldn't really stress out on it and just have fun. I'm really happy with the way the land space lock, so I'm just going to leave it right here to dry. And while that dries, we can work on our clouds. So I'm using a mix of white, little bit of yellow, right? And I will add a little bit of pink into the scholar. So there are two shades that I'll be using. This one, this grayish color. And a color which has a little bit of red and blue, if you'd like. So that there's a variation in the clouds. As you can see, this is the shade that I'm using first. And using the dry brush method, we are going to go ahead and create some linear clouds. So go ahead and create the clouds as you would see in the reference picture as well. If you're not very confident on where to place them, you can follow me along, you can see how I'm doing it. I'm doing it in the area that is on the bluer side, right? I haven't reached the yellow section yet, so I'm using the darker color first. And over this I will add more highlights by adding more white clouds. Or if I laid down white clouds and I would add shadows to it. It works both ways. You have to, you have to actually make the judgment in that, in that moment. Alright, so I'm just adding this color and as you can see, immediately when the color dries out, it dries out to be slightly lighter. So keep that in mind. The colors are going to dry slightly lighter. Like I said, I will, now that I've laid down a darker color, I will add in some highlights by using the same dry brush method. And I will add in some lighter clouds in the sky. Now over here, I'm making the clouds lighter at the top. Because in the sky in this morning bit we're going to add a little moon phase as well, because it's just getting morning. The moon is still in the sky. The moon is always in the sky, but the moon is still clearly visible in the sky. And the morning, the hint of mourning is just coming in. So I've just added, brightened up my clouds because honestly in that moment the clouds looked a little bit darker. So this is another example of the judgment that you make while painting. You'll look at your structure or the shape that you're making. And woman, think back and see what is it missing, right? What can I add to this? What can I remove from this? What can I work on? So that's the judgment you'll have to make in that moment. I'm just adding in some more lighter clouds, some fluid or Cloud, some more texture in the sky. I'm just playing around having fun with the clouds. The way I'm holding my brush is slightly angular to the paper. It's not perpendicular, there's an acute angle and the way I'm holding my brush so that I get that nice linear shape that I need. Not making the clouds look fluffy, but rather more like in the horizontal format. And just play around. I'm adding in some more whiter clouds in the yellow section, but it's not going to be fully visible because that section is really very light. And again, they're gonna be a lot of trees in that area. So I'm not going to be very clearly seen that. But it's always good to add in some textures and details, even in the background so that even if the little section shows a peak of that era, you're still going to be able to see all the stuff that's happening in that section. It's going to, it's all going to make sense when you actually reach the end of the painting and that all starts to make much more sense. It looks very different from the beginning. So go ahead and add in some clouds and enjoy the process of adding clouds. Don't pee, you know, constraint, but this exact format, you can do it in your own way as well. Alright, so I'm really happy with the way the clouds look right now. So I'm not going to overdo this. And we're going to go ahead and add a moon at the top somewhere in the corner. Not really in the corner, but center-left, I would say. So. I'm gonna go ahead and use white paint, a little bit of white paint on my brush. I'm going to make a silk good. So very small circle is going to be dead in the sky. And then I'm just gonna leave it sort of halfway, like a crescent moon, I would say. And I'm going to clean my brush using just water or the damp brush. I'm going to move the paint around to make it appear full up. Now when you do this, what happens, what happens is it gives that illusion of that phase and the Moon where one bit is darker and the other bit is very light and faint. So you can easily distinguish between the darker bit, more opaque bit of the moon and the sort of translucent. I wouldn't say it's translucent, but you know that lighter bit of the mode. I'm really happy how the background looks right now, so we're going to wait for everything to dry. And in the next lesson we'll be adding all our pine trees. 6. Project 1 Part 2 : Snowy Winter Morning: Alright, now that our base color or the background layer is completely dry, we are going to go ahead and start painting the snow slope. For that, I'm using a mix of Prussian blue, a little bit of red and black, just a very light thin down version of the color. Then at the top I'm adding a little bit of white gouache. And then using water, I'm going to blend the two colors together. This way it will create a nice gradient where the top part is going to be brighter and the bottom is going to have that blue shade, which will turn lighter by the way, when you add white quash and blend it in. This way, you'll be able to create a little bit of shadow effect in the snow. When you're painting snow in gouache, instead of just leaving it flat white, we tend to make the shadows in so that the 3D effect, it looks much more real. Alright, now that the snow bit has completely dried, we all are a paper filled with colors, right? So every section is filled with colors. And now we're going to work on our pine trees. For that, I'll be using my size six round brush and a size zero round brush that I showed you in the materials lesson. Starting off with a size six round brush, I'm going to be using a mix of black and burnt umber. So these two are the colors that I'll be mixing together for the tree. As you can see, it's a very deep color, very close to black, but it's not really black. There's just a tiny bit of black and more burnt umber in the mix so that I get a sepia color, a deep color. Now you can look at the reference picture, please. Your trees. Again. In case you are not sure about painting from the reference picture, you can follow me along. I'm just sketching out different variations of the trees which is represented by this line. And then I'll be adding more details to it. The idea is to really them insights, alright, you're going to have some bigger trees and that, those trees are actually closer to the observer. And so they appear bigger and taller. And the ones at the back you'll see I have a few strokes that are smaller than lines that I drew. Those are the trees that are going to be slightly further away from the observer. So this way you can add in a little bit of the 3D effect using the method that we learned earlier in the elements less than or the exercise lesson. You're going to use that to make the tree. Now, there might be places in which the tree is going to overlap one another. So in that case you're going to make the shorter trees have a slightly smaller strokes so that they appear that they're far away. And the ones in the front, those are the taller ones, are going to have bigger strokes. Now at the same time you will see me making the tree appear fuller. And I'm doing this because we're going to add snow on it. So right now, it looks all crazy, right? It doesn't look like a pine tree, but when we add the snow on top of it, it's going to bring out the details a lot better. Right now. The process here is very Deputy. We are going to be covering all the foreground or section above the snow with pine trees. Like I mentioned earlier, you can also switch between the brushes. So the trees that are at the background, the shorter ones you can make that using size zero brush and make the brush, the branches and the leaves very small as compared to the ones in front. So that it adds to that variation. It shows that those trees are little further away. The bigger ones are closer to us. So over here the process is very repetitive. So I'm just going to give you time to enjoy the process. I'm not going to increase the speed of the video so that you can just watch and paint along with me rather than having to decrease or increase the speed at this moment, right? So this process is very repetitive. You can pause at any minute if you feel like I'm still going faster for us, have a look and paint along with me. It's gonna be really fun. You can also look at the reference picture to understand the elements better. Or sometimes spend to play along, right? So I, I play a lot with my reference picture, so I don't make it exactly like that. And every time that I sit down to paint from a reference picture, the outcome turns out slightly different, which is good. It doesn't have to be an exact replica of your reference picture, so everything turns out great in the end. So take your time, enjoy the reputation of process, and get your trees nice and ready. In this section, I have made a few thinner strokes with my size zero brush just to add in some more sharper details. So you can do that wherever you feel that the painting looks really flat. You can add in some details. You can also add in some vertical strokes and branches to depict some trees in the background like I'm doing here. Wherever you feel that there is a space between the trees and you want to sort of fill that up. You can always make some brushstrokes and some lines and twigs and branches to make it appear follow. But yeah, so as you can see, there's a variation between dollar pine tree which is closer and the shorter ones which are in the background. So it really just brings in that the taller one is closer to us. Again with the snow, it will look a lot more different and a lot more sense. One of the tricks in which you can make a pine tree appear fuller is by making a few strokes in the middle as well. So few lumpy strokes in the middle, right? So that really adds to the effect of making the pine tree appear fuller. Earlier when I used to paint pine trees, I would always just have brushstrokes and decide on the either side. Right. So I would have left and right. I would never I would never put something in the middle where the trunk and when I did that, the tree just appear to be really empty. There was something wrong with it. I can feel it. Another thing that I used to do was start the branches on the left and right side at the same point. That also really made my tree look very different and very weird. Alright? Another thing that I used to do was to increase the size of my pine trees are the branches the size increases. I would just make it very even. That looked like a little bit awkward to look at the eyes because no pine trees like it's gonna be perfectly moving out, right? So going to have some smaller branches in the middle as well, or just some leaves hanging in there. It's all about adding variations into your tree. You're not going to make it very symmetrical at this point or very structured. You have a structure to follow. Don't get me wrong. You have to be in that triangular shape. But it's not going to be super triangular, right? I mean, I'm sure you must have seen the Christmas tree appears more triangular as compared to the Alpine set we're painting right now. But yeah, go ahead and enjoy painting. These trees have almost reached the end of this section. I agree that this is a very time-consuming process, but obviously this is the most important bit of our paintings. So we've covered almost half of all the pine trees that we needed to add. And right now, I'm just gonna go ahead and add in some details in the background. Like I mentioned earlier, you're going to be adding some in the background so that you have the appearance of these smaller trees in the background as well. And you're not just going to have the pine trees and that shape. You're also going to make some dollar branches that he would see me do in the end when I reach towards the right side. And when I do that, it also sort of adds variations into the type of trees that you can see in my Fintech. I feel like the space behind the trees looks very empty and that is why to make it appear more fuller, I am going to add in some branches and a few sort of like vertical branches and trees around it. This way, this section is going to appear fuller. At the same time, it's not going to overpower the trees that you see, right? I don't want to cover that or add in something that will take away from their shape. But rather add in a tree that's more empty, just the branches and the trunks visible. And that will just add variation into the, into the trees that you can see in your painting. And at the same time just make it a bit prettier. So yeah, go ahead and add that in. Just wanted to pop a pill and give you that piece of information based on the changes that I'm making. But yeah, I'm really happy with the way this is turning out and we've almost reached the end, we just need to add one more pine tree in the right corner. And then we'll be good to go. 7. Project 1 Part 3 : Snowy Winter Morning: Alright, so we've reached the end of this class project. So this is the final part. Before we go ahead and add the snow, you're gonna look at your painting, all the background trees that you've made. And they're going to see where things can be changed. Maybe some finer details can be added at the top. Maybe you can make the double sharp or add in a smaller tree in the background if you think it looks a little bit empty. In the right section, I felt like it could use a few extra branches, just an empty tree in that section because it looked a little empty. So I'm just adding minor strokes and that section just to add in some details. But if you're happy with higher overall picture looks, you can go ahead and start adding the snow. Now for this, no, I don't want to use just white. So I'm going to mix white with a little bit of blue and a little bit of black. So it's just a tiny hint of it. The major portion of your mixture ratio is going to be more of white, just a tiny bit of black and tiny bit of blue so that you have a color with a little bit of Tintin it, right? So I'm just going to show you what the swatch looks like. So this is the color that I'm using. As you can see, there's a blue undertone to this color. It's not pure white. Alright, so using my size zero round brush, which comes to a beautiful fine tip, I'm going to start adding this node. Now, the way in which you add the snow is very similar to the one we did in the exercise lesson. We're going to be adding smaller dots at the top. And as you come down, you're going to increase the size of the stroke. Make sure that you are adding the snow on the top portion or right and not just doing it in the left and right side, but rather in the middle as well. So if you look very carefully in the way in which I'm doing, the middle sections are more rounded, right? And the left and right side ones are a lot more sort of elongated, right? We can see how the middle one is more round side one's a little bit more elongated. Now the size of your snow that you're going to paint also depends. What? Depends on where the tree is. The tree, if it's closer, they're going to be seeing more details in it. We're gonna be seeing more snow details in it. And that is why the strokes are fuller, their wider, they're bigger and they're shape is much more detailed. You're going to be making the snow all the way to the bottom where the slope start. We will make the merge local lot more realistic later on by maybe wetting the surface and making it one. But don't worry about that right now. You're just going to focus on adding the smoke along with the bigger strokes of the snow that you've added on your tree. Don't forget to add in some smaller ones as well as this adds to the details in your tree. So the snow is just not going to be in big chunks, right? It's gonna have some sections where there's a little bit of snow. That is what I'm doing. I'm just adding in some little sections as well. Now when we come to the trees that are behind the dollar 1's, the brushstrokes is going to be a lot more smaller. As you can see, I'm making very thin strokes, adding in very deep or less details in that section. Because this is the area where it's not very clearly visible to you. You know that there's a tree, it has some details. But we want to skip into adding a lot of details to it. We just want to add in some snow and leave it right there. So I'm going to repeat the process for all these trees. You can skip the ones where there are just branches for now. But wherever there are pine trees, you're going to follow this step. So smaller brushstrokes for the ones that you see in the background and bigger ones for the ones that you see in the foreground. Or that is closer to the observer. Now we added a little hint of color into a white because when this dries, it's going to dry out to be slightly lighter. It won't be as opaque as it looks when you first lay down the color. And that is completely okay because that is the effect that we want to make certain areas appear much more brighter. We will add a second layer in that section, and that way it will appear more opaque. Now we read this tree which is in-between two tall trees. So again, I'm going to switch to smaller brushstrokes, just adding in some details, small strokes. And that will be the way in which I add snow in the background trees. Now, in this ADR, using a small size brush, which comes to a really fine tip, plays a very important role because then you are able to make, because strokes and smallest strokes using the same brush and not having to keep switching between brushes, which I think works really well because you don't want to move around with your art supplies a lot. If you have one brush that does most of the job, then it's all good, right? So for me it's this brush, the size zero round brush, which comes to a really fine tip. It does the job really well and I absolutely love it. Alright, so I'm just going to repeat the process again. As I mentioned, this is very similar to the previous lesson where there's a lead, a little less talking, and a lot more doing. So, enjoy the process of adding snow onto your truth. Like I mentioned earlier, you will be adding the snow all the way to the bottom. And once you're done with that, we will fix that entire section, make it appear as one. But right now you're going to be adding the snow all the way to the bottom. Actually, I'm really happy with how everything looks up to. I love where the snow meets the slope and also the slowest turning out really well. One more thing that I wanted to point out here is wherever you feel that you've done so much of the white maybe or snow is very overpowering, or you're not able to see the background layer, which is the darker part of the tree. You can always wait for that layer to dry and you can just go over with black and fix that section. So this way it is very versatile so that you don't miss out on anything. But you can also get a lot of details, Stan, without really having to worry about making mistakes. If you think something has overpowered, you can fix that. Now we've almost reached the end of that area. As you can see, I'm adding very little strokes in that section just to show that those trees are in the background. And I'm really liking the way this is turning out. Alright, now that my base layer for the snow has completely dried, we're going to spice things up a little bit and make the trees in the foreground, the snow on the trees in the foreground appear brighter. And I'm gonna do that by adding a little bit of white, just white without any mix of color in it, just pure white. This is titanium white, so it is much more opaque. So it will also depend on the type of white that you're using. I'm using the same white. I'm going to go ahead and add it to the bottom as well just to blend it out. And you don't have to put this white everywhere. You can just put this byte at the tips wherever you feel like it, It's very sad done, but I'm mostly working on the trees that are closer in viewpoint. So I've just added some strokes with the white and added it at the bottom as well. And now I'm just brushing it out using the dry brush method, taking up some more white and brushing it in this role to sort of create a little bit of extra into your snow, other than it looking very flat. And for that, a textured paper works out really well. So you can see adding in the white and just moving it around is adding a little bit of texture which really shows up once the paper is fully dry. And for the moon, I'm just going to redo that section slightly because I felt and try it out a little bit lighter than I expected. But other than that, everything in this Asia looks good for now. All right, so now you're going to take a step back, look at your painting and see where you want to add in your finer details if you're happy with it, good to go. You don't have to do anything. But in case you feel like maybe the snow was overpowered and you need to add in some more brush strokes to make it appear better. Some more leaves around the pine trees, some more sections, sharper sections at the top. Feel free to do that. Some places that you might want to add some more snow, you can do that. This is really just a timeframe in which you take a step back. Maybe you could go have a walk around the house and then come back to this with fresh eyes so that you can really see what's missing. Right now, I felt like at this second treats second closer tree, I didn't add enough snow. On the third one, I didn't have enough branches on the right side. That is exactly what I'm moving out and fixing. But other than that, I am really happy with the outcome of this painting. Our first class project looks gorgeous, right? So right now, just take a step back and fix anything that you'd like. And if you're done with that, you're going to let it dry and then we will be the tape off and do our review. Alright, so now it's time for the grand reveal of those crisp, clean edges. Make sure that you pull away from the paper because then you ensure that you're not going to tear your painting. Many times what happens is when you're pulling in the same direction or you pull away from the paper. I mean, like, you know what a clear way. You tear some bits of the paper and then it just goes all the way into your painting. And that's the saddest thing that can happen. I don't want that to happen to you. So make sure that you're pulling away in this horizontally and closer to the paper, but at the same time away from the paper. This is, it. This is how a painting looks with those crispy clean edges. I love how this one has turned out and I really hope you enjoyed painting the first-class project for me. If you've painted this, please do upload it in the project section because I want to see you see the progress as you go and all the ten days. So make sure that you just posted. I would love to see how you did on day one, and this is it. I shall see you on day two where we'll be painting this beautiful, gorgeous golden hour together. 8. Project 2 Part 1 : Golden Hour: Hello everyone, welcome to project tool, which is this beautiful golden sunset. The colors that I'm using are cadmium yellow, primary red, Prussian blue, burnt umber, titanium white, and lamp black. All the colors that I use in the previous class project where using the same colors here as well. Alright, so I've taped on my paper on all four sides and taking the colors out on my palette, as I mentioned earlier. So the first thing that we are going to do is create our basic sketch. This way we'll understand where the placement of a horizon line is, and also understand what the elements are and where they placements are in our reference picture. So first I'm going to make a horizontal line dividing the people two-third and one-third. This is going to be where the foreground is. Right behind that I'm making another horizontal line, which is going to be my horizon line. Now this line is where the sun is setting. You can see that and the sky gets separated from all the elements in the ground or the land, right? So I've gotten that. Next. I'm sketching out just a random shape of this mountain at a distance from just making a very thin, uneven shape right above that is where our son is going to be. You don't have to make it this dark. I just made it this dark at this moment to show you, make sure that it's not, not too dark. Alright, so now that we have all our horizon lines and all of that in place, We'll just give us an idea of where the leak is, where the land is, of course, where the sky. Now right above the land, which is our foreground element, we have an uneven shaped, maybe some fallen snow. And then obviously we have a bunch of different trees, as you can see in our reference picture of different sizes. So I'm not going to sketch it out properly. I'm just making a few placements of them randomly on the paper just so that I know, when we start painting, it's going to get covered. So it doesn't really make sense to make a proper sketch and have all the branches and branches in place. You know, roughly place the elements in DOD painting. Now that it's done, I'm just going to show you where the sunset colors will be on the lake. So we just wanted to bring in a little bit of orange where the sun is setting. And you're not going to be working on a lot of texture in that area because it's still slightly far away. So you're not going to be seeing the leg in detail. But we try to achieve a similar look of a lake by adding in some textures. So yeah, this is pretty much it. I am happy with the way the sketch looks at the moment. So we're just going to stop right here and start painting. Alright, so the first thing that we are going to paint a sky, so I'm using my size 14 flat brush. You can use any flood brush that you have with Q. For this guy, I'm going to go with colors such as yellow, orange, and blue. Now to make the orange, I will be mixing my yellow and primary reject together, that is cadmium yellow and primary red together. But in case you don't want to do that, It's completely fine. You can use orange directly from the tube as well. Here, I'm mixing equal parts of yellow and red and adding white into it and I will get this beautiful orange shade. So I'll just show you a swatch of the orange color. So right now I'm working on the consistency because it's too watery at the moment. So I'm just adding in some more paint to make it slightly more secure than more like a water consistency. So I'm just going to apply this color at the area right above the horizon line. Now, as you can see, the color is not too orange or very bright. And that is exactly what we need. We don't want our shade to be really bright orange. And when we add white into it, you tone down the vibrancy of the color which works out really well. This is the first color that I'm going to apply. Right above that, I'm going to make another mix that is of yellow and white, again, toning down the vibrancy of the color. Here's a swatch of the shade that I'm using. So when you turn down the vibrancy, it gives you this very nice pistol colors that we need for this guy, rather than the bright orange and bright yellow. So you're just going to go in this left-hand right motion using this color and slowly start moving upwards. Now that I'm here, I'm going to stop and work on the blue because we have to bring the blue down and move the yellow up to create that nice blend. Very similar to the exercise we talked about in the beginning of this class. So right now, I'm mixing Prussian blue with white. Now you can always vary the quantity of Prussian blue to make the color deeper or lighter. Obviously, when you add more blue, you will get a much more deeper color. To this. I've added a tiny hint of black as well. You can skip this step. It doesn't matter. Right now, I'm just working on that perfect shade that I just switched to bad about it. Black, just to give it a much more muted shade rather than just being very bright blue. So using this color, I'm going to start at the top and go in this left and right motion, start bringing the blue colored down. The idea is to create the nice blend between the two shapes. And the trick to doing that is using byte. So now that I'm happy with the blue there, I'm going to load up some white on my brush. You make my brush a little bit damp if you think it's getting dried out. And then again, moving this left and right motion. Sometimes you'll go up and then sometimes you'll come down to get that nice blend in the sky. Now that I'm happy with the blue part, I'm going to go ahead and draw that line where the yellow is using a little bit of white and a yellow shade. And then again, go ahead in this left and right motion to blend them together. Right now the process is very interpretative. I've laid out all my colors, but I have to create that good blend in the sky right? For that, I tend to go ahead and wet my brush completely, clean it off with any paint, load up, just a little bit of shade wherever necessary. And then again, go ahead in this left and right motion moving upwards and downwards. That's the judgment you will have to make when you're doing your own blends to see which color is going to wear, Right? So for me, I felt it got to yellow at this moment. So I'm going to clean my brush off, load up some white to fix it so that it doesn't go all the way to the blue to create the green shade. And you just have to make the judgment when you're blending. But the idea is to keep moving in one a One Direction, which is the to and fro direction in motion that we're working with. And then with just a few more strokes, he'll be able to create a beautiful blend in a Skype. Right now. I love to blend in the sky, so we're going to wait for this to dry. Alright, Now, let us work on the sun bit. So I'm going to start off with some white sheet mixed with yellow for that area. Apply it in the circular space that we left behind. If you haven't left that area, don't worry, you can always paint over it and blend it out. It works both ways. I added a little bit of red and just blended it with the sun color because I was trying to get a nicer ring around the sun, but it didn't really turn out that well. But that's okay. We're gonna try another method which is add a little bit of yellow and red together to get an orange shade. This time adding a little more of the red so that it's much more deeper. Hello. So I'll just show you a swatch that I'm using. It is an orange shade. It just has a little bit more red into the mixture. That is why it looks a lot more vibrant. So we're going to go ahead and just blend it out in that area where the sun was. Not just in a circle, but the area around it. And using your brush or damp brush, you can blend it out with the sky so that it doesn't have those harsh lines. And then this is just to create a nice clear it around the sun. Once this dries, now that this is fully dry, we are going to go ahead and mix yellow and white together, but this time more white. The paint. So it almost looks white with just a hint of little yellow in it. And I'm just going to apply that as you can see in the sun area to give it the sun effect that the sun is setting. Makes sure that your circle is nice and round. You can work on it with a round brush. You can use a smaller round brush if you want or if you're okay with your bigger round brush. And you can get thin strokes and you're good to go. Right now I really like the way the sun looks and it's completely dry so we can move ahead with our league bit. So I've made a mix of Prussian blue, black, and white this time a little more black than the Prussian blue. I get this nice gray color. And using your flat brush, we are going to be creating the texture in the lake, but I've just left that area where the mountain is going to be blank. So we're going to start off this below the horizon line. And I'm just using the same shade and covering up the entire area with this green color. You can always add a little bit more water in this area because we're gonna be doing a bunch of different colors. Like here, I've added more white into the same mix. And using my flat brush worth carey, I'm getting these thinner strokes and that's, that's sort of adding a little texture and depth. To my painting, this way I can see the deeper parts and the lighter parts of the lake. I also left a little area where the sun is so that I can add in the orange in that area to show that that's where the sun hits. The sun rays are hitting the ground. It's creating that nice orange glare around that Ada. You'll also see the shade in the reference pictures. If you look at the reference picture, you get an idea of why I'm doing exactly what I'm doing. But yeah, that section got a little too orange. I went ahead and add a little bit more gray around that area so that it's just not too orange and just in your face orange. Next, I'm going to load my brush with a little bit of white paint using my round brush. I'm just making these horizontal strokes, smaller horizontal strokes. That is going to give me the lighter bits in my lake drying. So as you can see, it looks a lot lighter and sort of gives me a variation that there's movement in the water. But we're not going to give it a lot of details because it's really far off, so we're not going to work a lot on the details. The only thing that we'll do is add in a little bit more texture into the painting that it shows it to leak. And we can distinguish this from the color that we'll have in the foreground, which should be very similar. Alright, now I'm creating a mix for the mountains over here. You just need a dark shade. I'm mixed black, brown and Prussian blue together. But feel free to just mix brown or black or black and brown together. Whatever makes you feel better. Go ahead and experiment this on your own as well. I'm just carefully going over the horizon line, right? So make sure that your horizon line is nice and straight. The area above it, the mountain above it can always be worked with. That's not a problem. Also, as you can see, I've left a nice little space where the sun is, because that is where I want to have the lighter bits in the mountain, which means that area will receive the sun rays directly. So it's going to appear brighter to the eyes as compared to the mountains on the left and the right side. For the area in the middle, I'm going to make an orange color again. You can mix red and yellow together or red and brown together just to get a deeper color, you're going to apply it in the middle section and blend it out with the mountains on the left and right side. You can also add in some more color, the deeper color to just make sure that it blends with one another. But in the end, when you finish your strokes, you'll have something like this where you have a brighter bit for a mountain where the sun is. And then of course you'll have the darker bits for the mountains in the either side. Alright, so you can just go ahead and add in a little bit more paint in case you feel like the ground overpowered, the darker brown overpowered. And you need to bring out a little bit of brightness. You can just go ahead and add some paint, make it darker deeper, make the judgment in the moment when you're painting. Once you're done with this, I'm going to stop right there and let it fully dry. Alright, now that this is dry, we're going to go ahead and add in some textures as I was talking about for our lake. I'm just using the same mix that I used for the water, but this time again, adding a little bit more black so that the shade appears darker. I'm using my dry brush technique. I'm just going to go ahead and brush over the section just to add in some texture. As you can see, I'm not really doing anything making horizontal strokes. But this way I'm going to add texture in my painting just to show that this is the leak because we're not working in the league bit and a lot of details. Adding a little bit of texture does the job for us because we have a lot of elements in the foreground that we have to look for rather than paying attention in the lake. So just adding in the texture will do the job for you. Go ahead and add in the texture using dry brush technique, will have to keep in mind that your brush needs to be dry. Even if it's, even if it has a little bit or a loser consistency of paint, it will not give you the desired result. So just make sure that it's dry. In case if you live loaded more paint or it's still water, you can always buy put on a tissue or just brush it across the masking tape to make sure that it's still dry. Alright, now that I'm done with the texture, I'm just going to go ahead and perfect the foreground line because I felt I couldn't see it. And also that uneven shape that I was talking about, I couldn't see it, so I just went ahead and drew that. I can. And then we are going to just sketch out the trees that we see in that area. Right now you can take your time to sketch out the trees properly. You don't have to work on all the branches, but if you feel comfortable in doing so, please go ahead and do that. If you're not confident enough in just going with the flow and making the branches. You can always take your time, look at the reference picture and sketch out at least the trunk, what the shape of the trunk is, how the major branches look and where they're placed. You can go ahead and do that. I just make sure that I get the structure right. So if it's bending towards the left or right, I tried to get that structure right and take my time with the sketching process here. All the smaller branches are really like what comes to me in the moment. I go ahead and do that. But again, like I said, you can get the get those structures and as well a few feel comfortable. Or you can just work on the shape of the trees that you see. Alright, so I'm really happy with the way the tree is looked at the moment. So in the next lesson, we'll go ahead and paint them together. 9. Project 2 Part 2 : Golden Hour: Alright, so let us move on and start painting all the trees that we sketched out. I'm going to be using my size zero round brush, which comes to a really fine tip. And it's going to help me out to achieve those thin branches, brushstrokes that I need. I'm creating a mix of black and brown together so that I get this deep sepia shade. Instead of just using black, I always prefer using a mix of two colors. You can also add in a little bit of blue in it. It's always worth just playing around with colors and experimenting. I've mixed these three colors together very similar to the shape that we used for the mountains in the background. And we're going to start off by making the main trunks first. The structure in which you will make the tree as you'll make the main trunk first. Then you will project out all the branches like the main branches that you are probably seeing in the reference picture. So you can make it exactly like you see it. Or you can always play around. Feel free to do that. You don't have to make the executory. Then after you're done with the main branches, you'll add in the smaller branches, which are all those tinier ones that you see all around the tree. So this process is very repetitive. And you're just going to be making similar types of trees all over. Make sure that you're very them. Make sure that you're wearing them in sizes and also in the shapes. So you don't want all the trees to look exactly the same, right? You don't have to bring a huge change in the structure to make them look different. The only thing that you'll have to do is probably make a main trunk and then maybe have two or three bigger branches, or maybe a slanting bigger branch or just two trees standing very close to one another. This way you will be able to add variations. You'll also see me add different trees, but the way in which I'm adding the trees remains the same. So I just finished the first one. As you can see, we've made the main trunk, we added the branches are sub branches. And everything looks very put together in this structure. As you can see, I went halfway up and split the main branch in different parts. And now I'm going to go ahead and add the sub branches. So this is again, a very creative process and it's going to take some time to complete this one. So I'm just going to leave you here. You can watch me and paint along with me. I've already explained how you're going to paint the tree. It's very similar to the one we did in the exercise lesson. If you don't want to follow that structure, feel free to make any empty tree, which means without any leaves. At this moment, these far off trees have no leaves. So you just have to make the basic structure of the tree to play around with the brush strokes and just enjoy the process. I'm really happy with the way the trees on the left side are turning out. Also one more thing I would like to tell you is that not to worry if you feel like your branches are sort of overlapping and just hitting on each other, It's completely fine because this is a landscape. It doesn't have to be that the individual trees will have that exact same distance between them or they're not touch each other, It's completely fine. There are sometimes people asked me a question that if there are two trees, how are we going to show that one tree is closer or there's a small distance between them. One way in which you can achieve that look, sort of look is by making the tree that is behind to be slightly off a lighter shade. So maybe you can add in a little bit of water so that the consistency is thinner. So when you make the brush strokes they appear lighter and the one in front will be slightly darker. Even though they are on the same plane, which is on the same line that you're making them that is visible to the, to the observer, right? I can see that these trees are in one line at that section. But maybe when you go closer to that area, you'll notice that the trees are not really in one line. They have a few inches of gap between them. This way you can achieve that. Look, I'm really happy with this section. I added a few branches and twigs and the bottom to add in some more details in the empty space. But now we're going to go ahead and take a little break. Move our first round, and then we're going to replicate something similar on the right side as well. Alright, now that we are back with a little five-minute break. Let us go ahead and paint the ones on the right side. Again, similar process. In this one, you're just going to have a little variation in the size of the tree. So they're going to slowly, gradually increase in size. As you can see by the sketch and the reference pictures. If you're following the reference picture, you'll be able to really understand what I'm talking about. The trees are gradually increasing in size. So that's what we're going to try and portray in our painting as well. And if you're not, then you can just follow me along again. Replicative process, I'm going to leave you to enjoy this one in silence. Alright, so not the two trees are done. I'm going to just add in a little empty shrub. Maybe you could say it was a shrub before the winter season hit. So I'm just making smaller strokes and that section to just fill up the space. The structure is again very similar to the way in which you make the tree. The only difference comes here is that the brushstrokes are really going to be minute and find that shows that this is something smaller in size. So you'll have to make really fine strokes if you have a brush that is not giving you these fine strokes and you can always switch to a smaller size brush. That is to just have these brushstrokes in our painting, no matter what brush we use to achieve it. Alright, so we're gonna move on to our last tree of this section, again, making a good amount of paint on my palate. So in gouache, we tend to use a lot of paint. You must have noticed that you tend to use a lot of p because you're using creamy consistency of the paint rather than a watery one, comes to watercolors. You have a little bit of pigment and a lot of water. So not using a lot of pain, but with gouache, you actually end up using a good amount of paint, again, as compared to watercolors. So, yeah, go ahead and add our last tree into this section and then we will move on to the next step. All right, reference picture. You will notice that before the foreground element at the top where the trees are used, a little bit of fallen snow in that section. So we're just going to get that in place. I'm using this darker grayish color, very similar to the one that we used for the league. Just a little more black and blue amount is there. I'm just going to go ahead and add that in that area of fully. So if you want to show the lighter bits in the snow, again, you will just add in a little bit of white and that way it will lighten the color. I'm using actually this lighter color in areas where the sun is, albeit you'd think the sun rays are going to fall. But right now all you have to keep in mind that it's in the top section of that layer. And on the bottom, you will be having the darker colors in. Once you're done with the lighter colors at the top, you can always switch back to the darker shade and add it at the bottom. And this variable to create that variation of the dark and light a bit of the snow instead of just leaving it white. So remember, when you're painting snow, you will have to work on with the shadows rather than just leaving it white. So I'm just adding a few more strokes of the white just to lighten the width a little bit more. But otherwise, I really like the way this has turned out. We're going to wait for this to dry and then we will be painting our foreground to get them. All right, now that everything is dry, we're going to go ahead and start painting this snow in the foreground. So for that, I'm using this light gray color very similar to the one that we use, the league or on the lighter bits of the snow on the top. I'm using my flat brush. I'm just going to apply it. Makes sure that you are keeping in mind that sun rays are going to fall in this section as well. So keep that slightly empty. Then to add the darker bit off the snow, you can mix a little bit of red into your blue, black, and white mix. This way you are going to be adding, Let's go deeper. Pinkish, gray color actually. Right now I'm just playing around with lighter bits and darker bits of grades. The grades, they're just having fun here, right over here. It's all about enjoying the process of adding different colors into the snow. Right in the middle. I'm going to go ahead with that orange mix that we used earlier and add that in my snow just to show that this is a section where the light falls and that is why it's appearing to be lighter. And then whatever empty space you have, you can fill it in with a light gray color. So again, to blend everything out, you'll be using this left and right brush motion. Now that we have all the colors laid out, it's time for us to add in more shadows and perfect it even more. I'm going to start off with the base to add in some more darker color, right? And you can make the data color by mixing blue and red together. This way you're adding a bluish tone to your snow, which is very similar to the color of the sky. Again, you can vary in the brushstrokes that you make. So you can make them directly flat or makes them slightly angular so that they are these thin strokes. A little, little bit of black into my brush strokes just to add in a deeper tone. Now I've added this structure, this shade in the area where the trees are going to be. Now if you look at the reference picture, there are true trees in the foreground. One that I've put on the left side is where the tree is going to be and then one but I put it on the top, is where the other tree is going to be. If you don't want to make it exactly at this moment because you're confused. You can market or you can leave it and we can make this in the, after this is dry when painting the tree, we can add in the shadows at that moping to just decide, make the judgment of what you want to do. When we are painting the tree, we end up adding a little bit of shadow in that moment as well. So again, feel free to judge if you want to make it right now or you want to make it when you're making, when you're adding the tree. Here, I felt like my darker bits got sort of blended out. So I'm just adding a little bit of black and blue together. And then I'm going to add in the shadows, like I mentioned, where the tree is going to be. One is here on the left side. I'm just going to add the paint and then clean my brush and blend it out. I'll do that. And this is on the right side where it is, as you can see, they're not on the same level. The right one is slightly upward as compared to the left one. And then using a damp clean brush, I'll just blend it out with the previous layer. Again, adding in some more texture into the snow by making these strokes on the ground for adding more shadows into your snow. Snow that's already on the ground. Again, using a damp brush, you can just blend it out. And this is one of the biggest things that I like about gouache is that you can really blend things out when they're still wet. And it looks really nice when you just add it and blend it out. Even if the paper is dry, you can add it and blend it with the previous layer with just a damp brush. And that is, I think one of my favorite things about the medium, again, adding in a little bit of orange and blending it out, adding white wherever necessary. Again, you'll have to make the judgment here. Right now. I'm really happy with the way the snow looks in the foreground. So we're going to let this completely dry. And in the final part of the class, we will be adding our foreground trees. 10. Project 2 Part 3 : Golden Hour: Alright, let us go ahead and pin two trees in the foreground, one on the left and one on the right. Using a pencil just to understand how thick I want my trunk to look like. And then again on either sides, I'm going to do the same thing just to give me an idea of what the size of my trunk is going to be. You can also go ahead and just start painting. You don't have to do this process. So I went ahead with my size zero brush again. And I'm going to go ahead and paint the main trunk first. In this, you can add in a little bit more black just so that you make the scholar of peak this way, like I mentioned in the previous lesson, that will give the illusion that this is closer. That's why it's more opaque, it's more darker, right? So once I'm done with my trunk first, I'm going to clean my brush. And actually using a damp brush, you can sort of clear this section out, which means merge the trunk with the ground right now it looks really flat. So using a round brush, I added a bit of white just so that it matches the snow color that we have. And then you just need to redirect that area. Or maybe if you've just started, then that section will be slightly wet. You will not have any problem in merging it with the snow. So you're just going to move it around. And as you can see, when I mix the white and the snow color together with the trunk color, blend in and it shows good at that's where it starts and if called the snowfall and then that Asia and that is why the snow has covered the trunk and you cannot see the ground over there. I felt like it wasn't really blend it out properly. So again, using a damp brush, I just blend it out the edges so that they look much better. But right now I'm really happy with the way this is looking. So we're gonna go ahead and start painting the tree. Alright, so we're gonna start off with the top most first. Now you're going to ask me the shape of the tree in the reference picture is very different from the one we did in the background. I agree with you. This tree, the process in which you make the tree is very similar to a pine trees. The only thing that you have to keep in mind is the structure, right? So over here, I would really suggest that you keep a copy of the reference picture beside you. Again, if you don't have the reference picture, I've uploaded the reference picture and the projects and resources section. By the way, if you like, if you don't wanna do that, it's fine. You can paint along with me, but I would suggest having it with you because, you know, this we also look at the reference picture and understand how we are portraying that on our painting, right? Everybody looks at a reference picture differently. Everybody's way of understanding a picture, understanding the element is different. Probably the way in which I understand my reference picture might not be the way in which you understand the reference picture and it's completely fine. We've all got our own PRBs, right? So look at it, understand it, understand the structure, understand the ways in which the branches are moving. Right here, like I mentioned, very similar to the pine tree. But the only thing is, instead of having it in that triangular shape, we're going to cut that off. But the ways in which I am putting the branches in the left and right side remains the same. This overhear the branches that are coming out are going to be 3D like pointing upwards. We look at the reference picture, it's nicely pointing upwards. That is the look that we are trying to achieve. The ways in which I'm tapping my brush is very random. Okay. Just like how I told you in the in the pine tree bark that we were doing, then you're just going to tap it in. You're not going to make one singular branch and then dab around it. You're going to assume that this is the waves and the way in which the branches moving upward and then step it in. And given that illusion that there are a lot of leaves in that section. So over here you're going to have fun, even if it doesn't turn out perfect or the way in which you want enjoy the process of adding this new type of tree into your painting. Although here I was really trying to kind of constrain myself into not opening up the cheek because I didn't want to cover the trees that we made behind so much. But if you look at the reference picture, the branches are really nice and white. Right, so I'm just going to go ahead and widen these branches. So add in some more strokes on the branch to make it appear fuller and also widen it, make them longer, and make them appear fuller. Always play around. Take a step back if you feel like Okay, I'm not understanding, it doesn't look good. Then take a step back. Probably take a walk around the house and come back with fresh eyes and I'm pretty sure you'd be able to catch what's missing or catch something that you would like to fix. So right now, I just went ahead and did the street in the left side. I'm actually happy with the way this looks. I like that the branches are really wide apart. The right side War and the left side is outside the paper, but that's okay. You're still going to be adding the strokes. Don't forget to add in some little branches and strokes in the middle as well so that it doesn't look so awkward. The drunk, it should not be just visibly awkward standing there. So make sure that you're making some in the middle as well. Now we're going to move on to our right side tree. This tree is very similar to the ones we made in the background. Just a bigger version of it. Of course, it's going to be of a deeper shade because it's in the foreground. But the structure in which you make it as very similar. So I'm pretty sure you're not gonna have any issues with making this tree because we've already learned our brushstrokes. As you can see right now at the bottom where the trunk meets the land, it looks awkward, right? So to fix that, load up your brush with a little bit of white paint to the wet the surface and just blend it out with the crown so that it looks like the snow has fallen in that area. I'm in the snow has fallen in that area. So it blends in and it looks like there's a cluster of snow in that section and it merges with the ground. So now that we have our major structure ready for the tree, we can start adding all the smaller brushstrokes, all the smaller branches that you see can play around, add as many as you want. So as you can see, there's a gradual increase in the size of the trees and that Ada, Right? So this one, these ones, these two actually are closer to the observer. So that is why they are bigger. You're able to see more branches here, more thicker structures. So keep that in mind and paint along with me. I felt like the chair that left leg. Likely empty. So I went ahead and added some more strokes, made a few more branches played around with a few more brushstrokes and that area in the middle of the trunk as well, so that this tree appears follow. You can skip this step. If your tree looks good, you don't have to follow this exact step. I just felt like mine looked a little bit empty and an end a little bit just sad, I would say. So I just went ahead and added a few brush strokes to look at the alpha. Alright, so I'm really happy with the way that trees have turned out. So what we're going to do here is actually use the dry brush method to add in some texture. So I'm making a mix of our brown shade, that was the burnt umber mixed with blue and a little bit of white. You can make a thick creamy consistency and you can brush it on the sides of your masking tape. And this way you will have this nice dry brush that you can work with. This way you can add textures into your painting. Now the question is, where are you going to add the texture? So remember wherever the light source is, four here for our painting here, our light source is in the middle of the paper, correct? This way, for the left trees, the trees on the left side will have the texture on the right side of the painting just to add in some lighter bits. And for the right side trees, the texture will be on the left side. So keep that in mind when you're adding the texture in any painting, not just this one, in any way, anything that you do by yourself as well. Remember that you have to keep in mind where the light source is. And that way you're able to create these textures that will make sense and make your painting turn out amazing. Like now we're done with the texture. I am so happy with the way the painting has turned out, right? The next step is to just go ahead and add a few more branches if you'd like. I would like to add in a few more finer strokes into my painting wherever necessary, some more branches, some more details. So this is the moment that you're going to do it wherever you feel is necessary. If you think of painting looks all put together and good, skip the step. Feel free to skip this step. It's completely fine. I felt like a few more branches around the trees in the background would look good, but very fine details. So I'm just going ahead with very light hand pressure. Very light pressure on my hand. On the brush, not on my hand. With a very light pressure on the brush. I am creating these fine strokes using my size zero brush. Feel free to use any brush that it gives you these type of brushstrokes. And once you are happy with how your painting looks, you're just going to stop. Alright, so now that our painting is completely dry, we're going to go ahead and carefully peel off the tape off from the paper. And as you know, this is my favorite step because it really makes the painting come together. And what do I mean by that is that you have some paint around on the masking tape as well. So when it gets peeled off, you really see the painting. That nice clean border. And it looks really nice and it makes the painting come together. So be careful when you're peeling this tape. And once you're done with that, you have this beautiful, gorgeous painting in front of you. I am so happy with the way this has turned out. Look at the gorgeous glow on the snow that we were able to capture. The trees, the finer details and the branches, the texture. Everything looks so put together and it's such a beautiful upcoming. Alright, so we're done with the tools. See you in D3 here. Sneak peek of what's coming. See you. 11. Project 3 Part 1 : Winter Night: Hello there, Welcome to Day three, which is of this beautiful winter night. Let me talk about the colors that I'm going to use. I'm using cadmium yellow, primary red, Prussian blue, burnt umber, titanium white, and lamp black. So very similar colors to the one that we've used in the previous class project. So let's get started. Alright, so I've taken my paper on all four sides and taking the colors out on my palette. As I've mentioned earlier, the first thing that we are going to do is obviously create sketch. So here's the reference picture on the left. You can see there's a nice slow ground that we are going to have a pine tree on. And then in the background you can see those tiny trees where the slope is, that it's really far away from the observer. Behind that you have a bunch of mountains, but I'm not going to work on the phone that you see in the image, will just be working on adding details to the mountains because that is a little bit tricky to achieve and it's a whole different experience to learn on its own. So I'm going to skip that for now. But we'll be adding everything else that we see in our reference picture. So you've got one big pine tree in the middle. That is going to be our main subject for our building. Again, I'm not going to sketch out the pine tree in complete detail because it's not that necessary at the moment. So we're just going to place it to understand a basic structure where it is going to be. Now that we're done with that, we can also add in a Mountains just to understand where the mountains are. There are a bunch of them like two or three that we'll be doing can sketch them out accordingly. I would suggest downloading the reference picture to understand how we take references from these images on your own. You can see there are a lot of things that we will change and add on our own as we go along in his painting. So it's gonna be a really fun experience to understand what to do in class from the image and what to leave. Alright, so I'm really happy with our base sketch here. And we're going to let this be and start with our painting. Alright, so we're going to start painting our sky first. Again, we'll switch to a flat brush here. I'm going to make a really cool color right now. Let me show you how to get a nice slightly purple mix using Prussian blue and primary red. I'm going to load my brush with some Prussian blue and mix a little bit of red in it. And as soon as I blend these two colors together, the color completely changes. Now this is very similar to a shade called a **** three, if I'm sure that's not how you pronounce it, but it's something like that. So it's very similar to that color. It's like a deep blue color with a hint of purple in it. I think that's how you would explain it. But this is the mix that we are going with. It's not Prussian blue directly or pople in its natural form. It is a pure blend between our Prussian blue and primary data together. So that's the first shade that we're going to work with. The next one is a mix of yellow and white together. Now the yellow that you will see in the reference picture is very faint. It's like very, very light, right? So we have to add that in the base just to show that the sun has just set, right? So there's this color that it's leaving behind. But it's not very evident because the Knight has taken over. So we'll start off with that color at the base, right above all the mountains that we sketched out. So that will be the color at the base. Will clean your brush completely. And then you'll switch to your blue color. And then add the blue at the top. Right now I'm just taking a little bit of white on my brush just to move the yellow slightly upward. And I felt like the yellow got to faint when I mixed it with the white. So I'm just adding a little bit of yellow in and then moving in this left and right motion to move it upwards. I'm really happy with how the yellow looks, switching to our blue shade. Right now the consistency is slightly watery, but I'm okay with that because we're trying to lay down colors first. And then again, when we move in this left and right motion, add in some more white. It will become opaque as we go along in the process. Right now, I just added the blue, the deeper blue color, and then I added a little bit of white into my mix to make it lighter. Here's the shade that we are going with. And then we'll be moving in this left and right motion to get it to blend with the deeper color. Now, as we've learned in the past, blending in this left and right motion is the trick. Right? You'll have to keep blending. Moving from the left and right. Moving from the left to the right, swaying around and then just mixing the colors together. It's not very tricky, but that is the key to get good blend in your sky, you will have to keep moving. You will have to keep applying pressure on your brush and just wetting the area in case it has dried out or using a damp brush, I can get the same effect. And it's all good when you are trying to blend it this way. Right now, I'm just loading my brush with a little bit of white in the section where the yellow is supposed to merge with the blue. Then again moving to the left and right motion. I'm trying to get a nice blend between the yellow and the blue. Right now, I feel that the blue is just too light. I feel like the white has overpowered the blue. Now, it doesn't look like a night sky. So to make the sky look like the night sky are going to add in the deeper color at the top and then slowly start bringing it down. So you can do this now, or you can read for the paper to completely dry. And then you can add a second layer over this background wash that we are giving. This way it will be nice and opaque and also deeper in color. So we're going to keep moving in this left and right motion until you are happy with what your Skype land looks like. I'm really happy with the way the sky looks right now. So I am just going to let this section dry. And once it's completely dry, we'll move on to the next step that is adding the clouds. Alright, my background layer has completely dried. So now it's time for us to add the clouds. For the clouds, I will be using the same shade that I have used in the yellow bit at the bottom. Using that color and using the dry brush method, we will be adding the clouds and the textures of how clouds in the sky. Here's a swatch of the shape that I'm using. I think it consists of a little more yellow than the previous color that we use, but more or less it's in the same color range. Does the total value has changed, that's slightly darker than the previous one. Alright, so you're going to load your brush with some paint, make sure that the consistency is thick and your brush is dry. Because we're going to use a dry brush method here. Now using the dry brush method, we will be tapping in our clouds. As you can see, this is again a very good example of the linear formation of clouds, which means we're not really working on the thickness or the fluffiness of the clouds. Rather we are working on adding the texture. So you get that texture by using the dry brush method. And when you go in this motion horizontally, you will get beautiful clouds. And all you have to do is tap and move around based on the clouds that you see in the reference picture. Or you can just do this by your own as well, by your own imagination. It's completely Okay. I'm going on with this color in this section, which is lighter, blue and the yellow bit. So it makes sense to use a similar color. And we had to make it darker because this guy already had the yellow bit. So make, making a darker version of that shade made more sense that it would show up on the light, the color that we have in the background. Right now, I've just added one sort of band like TechShop for the clouds, leaving a little bit of space because you don't want your clouds to look as one single line, right? It shouldn't be following one single part. It can be in the same area, same, let's say height. But you will have to give them an individual shape and an individually size according to what the reference picture sees. I also went ahead and added some clouds in that yellow area, though, it's not fully visible once it's dry, it will show up a lot more than it's doing right now. So I'm really happy with the clouds wherever the yellow and the light bits of the sky was nighttime first to add some more texture in the sky using the dry brush method, but with a slightly light blue colored clouds. For that, I am going to mix blue and white together, so more white, less blue. Here's a swatch of the shade that I got. This is again, just a mixture of Prussian blue and white together. Using our dry brush method, we'll be adding in some texture. Over here. I'm actually not making leaner formation of clouds, but rather I'm using the dry brush method to add these diagonal clouds. Because almost like adding these very scattered clouds that are in the sky, they're not a cluster, but rather just, just spread out in a particular order. So you can achieve this effect in your painting by just brushing your brush with paint over your paper. Now for this texture, cold press paper works really well because it has nice texture and you can use this texture to your benefit when you use dry brush technique. And just lightly brush over that section. It creates this beautiful texture as you can see right now. If you didn't know, if I didn't show you how we made this, you would be a little bit confused as to how we got that extra. But now you know the trick is dry brushstroke. And your textured paper, that is your cold pressed paper. Using the light blue color, we can also add in some more floating clouds in the sky. And overall dislike. Have fun with the Cloud section. You're almost done with all the texture play that we needed for this class project. So right now I'm just going to leave this peak is it's very easy to overwork in the sky with the clouds. I'm really happy. Let this dry out. And now we're going to go ahead and start painting the mountains. I'm using a mix of brown, black, and white together. So this is the first shade of gray that I made. I wanted this to be lighter because as closer we get to the observer, the darker the color of the mountain is going to be. This one was perfect for the fire of mountains that we could see. So I'm just going to fill in the ones that are in the same area. So that is my furthermore mountain can have the scholar. Once you're done with that, you're going to wait for this to dry. And then we'll add the second layer in front of it. Alright, now that this section has completely dry, we are going to go ahead and add the mountains in front of it. Now, as I mentioned earlier, the farthest away mountain is going to appear lighter. And as you move forward, it's going to get darker and darker, right? Our baking and transitional color, which means that gray that we're using is going to be darker than the one that we used earlier. In this one, obviously we'll have a little more black in our mix. And obviously the why it will be slightly less. You'll get a grade that is darker than the previous one. Again, using a round brush here for more precision, we will go ahead and add the mountain. If you'll notice very carefully, I am not going with very clean strokes, which means my mountains don't appear to be just exactly covered with the same consistency of paint are the same color. Basically if, if, if, if that makes sense, I am moving it around in very random brushstrokes. So if I were to use clean brush strokes here, obviously there'll be an even spread of color. Since I'm not using a clean brush stroke, I get this random specks of white in the paper as well as you can see, there are some sections that appear lighter and some darker, and that's completely okay because we don't want it to lie flat. But whatever detail we can give in to our painting using just one layer of paint. It's all good to go. Like in the mountain. Before that you can see there's a little bit of texture play that's happening without it was unintentional texture play. You can leave it like that as well because it looks nice. Now while our layers drying, we can go ahead and add in some stars. I'm just using my round brush to just make a few stars, but you can go ahead and splatter some around the sky wherever you feel like it. I just wanted to have it in the random order with my brush itself. So I went ahead and did that. I also made one star to shine a little bit brighter. And I failed miserably in this section, so you don't have to do this one. I just showed you that in the painting process. A lot of times we do something that we don't like, but we can fix. Right now. I'm just going to leave it as is. I'll go along with my painting and if I don't like it, I will make the necessary changes. Alright, now that my mountain has dried completely, it's time for us to add in a little bit of extra on the mountains that is slope. So for that, I'm going to make a mix of a little bit of the black and white that we used, and obviously white. Now the idea is to use a light gray color and using a dry brush method, again, we are going to add the texture to this acts as the mountain is covered with snow at the top. Now you can just carefully move around. The idea is to use the dry brush method. That's exactly what I'm doing. In case you feel like you are using a lot of paint. That's slightly okay as well because we want some sections to be more opaque, especially the tip of the mountain, right? All the ones at the bottom can be nice, rough textured, but the tip can be slightly opaque and that's completely fine. So I'm done with the mountain on this leftmost section. And now I'm just going to go ahead and add in some texture on the rightmost as well. Make sure that you're not making it flat. That is, you're not just making these brushstrokes downwards. You want to give them an angle, maybe the left or the right. This way you also understand which way the mountain is facing. So all the ones that are moving towards the left side, you kind of get an idea of the way the mountain is shaped. It's not flat, right? There are a lot of structure that's going on in the mountain. It's not flat. So you'll have to bring that by making these snow textures on the mountain at a particular angle. So I'm really happy with the way this looks right now. I'm just going to add in some more texture and play with texture. This is obviously something that is in the background. So even if you don't end up adding a lot of details to it, it will be completely fine too. Just leave it at that. Because again, this is really far away, right? So I've just added some dry brush strokes texture to show those little specks of snow on the mountain, which is just all around, not just at the tip. And I am happy with the way this looks right now. I'm just going to let this be as is. And once this completely dries, we are going to paint the mountain in the front and add all the details to it. 12. Project 3 Part 2 : Winter Night: Alright, let us go ahead and paint the foreground. Now. For that, I'm going to paint the mountain that is there behind the main sloping land that we sketched out. For that I'm using a mix of white and black and adding a little bit of brown in it. Obviously, I'm going to try and keep this color darker because this is a mountain that is closer to the observer, so it's going to appear much more darker. I'm starting off with this color using my flat brush at the top. As you can see, I'm not trying to make any clean brush strokes, just trying to cover that area and go along the shape of the mountain. That this way you'll be able to add in some texture because some part will appear darker, some lighter. As you can see, that we'll use that to our benefit by using it in the textures that we add a head. Right now, instead of trying to get the entire mountain to look one single color, you can always leave it a little bit uneven. It doesn't have to be the exact shade. Now I'm going to make some more paint of the same color because God, over and add the bottom, I will add in a little bit of green color just so that that area appears lighter and the top section appears darker. Now, this is where we are actually changing a few bits and pieces of our work. So in case you want to get the exact look that is in the reference picture, you can do that. But if you want to follow me along over here, I changed a few things instead of going for that misty effect, which is a really different topic to teach on its own. So I wanted to skip that at the moment. But instead of doing that, I went ahead and added a little bit of gray at the bottom. And then we'll go ahead and add in some textures to our mountain and just innovate and paint this in our own way. So as you can see, I've added a little bit of gray at the bottom. And now that all the color is laid out and every inch of this mountain is covered. I'm going to go ahead and switch to my round brush just to get in some more uneven or texture in. And then we're gonna wait for this to dry. And once this is completely dry, we'll add in our textures, that is the snow on our mountain in the next step, which is after this dries. Alright. So now that my base there has tried again using that same color that we use for the snow earlier. That is byte with a tiny hint of blue. And using a dry brush technique, we are going to go ahead and start adding texture. Now, again, you're going to move in the direction of the mountain. And what I mean by that, instead of laying down your brush strokes really flat, you are going to give it an angle. And this way you can sort of give the illusion of the slope in the mountain, right? Your mountain is sloping upwards, it's not straight up, it's at an angle. To achieve that look in your painting. You can do. You can get that look in your painting by just making these dry brush strokes at an angle. Now over here, honestly, I'm just having so much fun because I'm doing this on my own. So this entire section is sort of more experimental. I wanted to keep the way in which we add the snow-covered mountain to be very simple. Mountains are very, very tricky subject to master on its own. And I wanted to keep this subject for another class which will be much more detail. But right now we're just having fun because this is something in the background. You can always just adding the texture and leave it instead of really working on the details. So as you can see over here, I've added some slope and added the dry brush stroke to depict the snow on my mountains. And then some bits are much more opaque, which will show that the snow in that area is small. And some of it just had these light brushstrokes. As you can see, that the pigs just textures on our mountain. So you can go ahead and play around in the section. If you want a better understanding of what I'm trying to depict here, then you can just open any Mountain View. And especially at night Mountain View and you'll get an idea of what I'm trying to achieve and do in this moment. But I am just doing everything that I want to in my own imagination. Right now I felt like the texture on my mountain was a lot. We're going to learn how to sort of blend it out and make it appear much more natural than it just looking really covered in snow and not making any sense with check which section is where, what's frontwards bag right now it looks a lot more flat than I actually want it to be. So we are going to work on trying to get that flatness out once we laid out our layout, all our lecture. So I'm really happy with the texture in the moment. Like, especially in the, in the middle section, the texture has turned out really nice. But the left one still looks a little bit crazy, so we're going to fix that. And fix that. What you'll do is just use your damp brush. You can load up a little bit of the darker color paint. But even if you don't do that, It's completely fine because when you use your damp brush, you will be reactivating the paint at the base and then you can just blend it out. So I have just used a clean brush over here. Just clean brush and a little bit of water. And I'm just tapping in water in the sections that are actually want to blend out. And then using a little drier brush, which means I'll get rid of the extra water. I'm just blending it out and as you can see, it's reactivating the paint at the base and adding in a little bit of a shadow effect that I want. If you think that you did a lot of shadow in that section, then you can go ahead and add in the white on top just to make it appear more natural. And now I like how this section looks. Because there is darker bit, which is the background color that will aid. And also a medium color, a middle color that is the gray. And then obviously you have the white on top. So this way it shows that the mountain that at the bottom is slightly in front. And that is why it's casting a little bit of shadow and that's why this section at the bottom appears to be darker. Alright, so I'm happy with that little section. Now let us fix this area in the left corner as well. Because it looks like it's the picture is all over the place. So again, using my damp brush, I'm just going to reactivate the paint and move it around so that I get a nice gray shade in that section. Then we will just add the snow on top. Alright, so I'm really not very happy with the left corner. Like I mentioned. Something about that. Iga seems off to me. So what I'm going to do is just blend everything out instead of trying to work in sections, I'm just going to apply more pressure and sort of blend that entire section out. And then once it dries, we will fix it in the next step and add in some textures on it. While the bottom left corner is drying, we can go ahead and add in some more snow at the top, which will make those sections appear darker than what I mean by that is we need a few little sections where the snow is much more opaque and brighter. And to achieve that look, we'll just have to go over the base layer that we laid out for the slow once more. And that will make it shine and make it much more opaque. Alright, now that my leftmost section is dry, I just wanted to try out and see if I was making the strokes right. And I'm actually really happy with what it looks like at the moment. I've just added some textures at left and right angles to depict the slope of the mountain. And again, I'm going ahead and adding in some more snow at the top to make it nice and opaque. And that is it. This is what our snow covered mountains in the night look like. I really like the way this has turned out. So I'm going to try and not overwork on this because it's very easy to play around with the direction and just overdo that. So I'm just going to try not to do that in the moment and stop right here. Again, mountains are a little bit tricky, so don't worry if you don't get it exactly right. We will cover this mountain topic in another Skillshare class, which would be much more detail than just specifically for mountains. Anyway, moving on to our next bit, which is adding those far off trees that we could see in our reference picture. Again, you can take the reference picture out and look at it to understand. Right now, I'll just have to go ahead and make a dark grayish shade. Makes sure that it's not the same color as the mountain that you laid out. It should be darker. Or if if the background color that you laid out was to too dark, then you can go with a lighter shade. Just to keep that in mind, make the judgment and the call in that moment. So I'm using this dark gray shade and I'm just going to go ahead and make these tiny pine trees. You don't have to make them look perfect, right? Because they are in the background. We'll be adding some snow covered snow on top of them. So it will add in some textures. Instead of making full pine trees, you can also make these lines and just tap in some texture in that area. Some brushstrokes in that area to show that there's just a series of these pine trees in the background. So you'll have to cover all the way till the middle of the paper, almost in the middle of the paper where the front most mountain is. There, you will have to multiple spanning tree. So go ahead and add that in. Alright, now that I've added all the pine trees, I'm gonna go ahead and add in some texture on them. And to add in some texture, I have to show that there's snow in that area. Now, this is very simple, right? We've done this in the past, but this time we're just going to be working in smaller sections. So make sure that you have a small size brush. And you're just going to be tapping, tapping in these little strokes in the way that you want a pine tree to look like. So make sure that you're tapping in the strokes in that way, which is more like that triangular format. And once you add it in those little sections, it gives that nice illusion that there is snow in that area. Now, as for the color, you don't have to use white directly because this is far off. It has a little bit of a lighter shade in that area because it's the night sky. We're going to work on a very lighter gray shade instead of just white. So yeah, that's pretty much it that you have to keep in mind in this moment. The process, sometimes it's very repetitive, so I tend to keep quiet because I want to give you time to understand these things in your own way as well. Because the more you look at it, the more you trust. So just look how I'm doing it. It's much easier to watch and learn, right? And that is why we're doing this class. So go ahead and look how I'm making these brushstrokes, keeping in mind that I want to show that it's a pine tree. So I have to move my brush in that exact order. Even though I have not made the exact shape of the pine tree, I will have to work in that order so that it gives the illusion that these are pine trees in the background. Once you're done with that, you will stop and then we will paint around. Alright, now that we're done with this section, we are going to go ahead and paint our ground, which is the snow covered slope that we see in the front moles, which is our foreground. So for that I'm going to mix a little bit of blue and black and white, can add in a little bit of red in it as well, just to show that the snow is in the similar shade of the sky because it's going to reflect the color of the sky. For that, I've mixed white, black, a little bit of red. Starting off with that color, I'm going to go ahead and add it in the slope completely. So it's very easy to just make one single layer of the color and then add in our shadow bits into it. Over here, we do not have a lot of elements in the foreground, so we don't have to really work a lot in the shadow of our artwork. It's very simple. So use this color and cover that section completely. And then using the darker gray color, I'm going to just add in a few little strokes just to show that it's an uneven ground instead of it being completely flat. Adding in a little bit of shadow, adds a lot of movement in your objects right now, it appears more 3D than it was appearing before, which was very flattened 2D. So I've added a little bit of shadow into my snow. You can also go ahead and add in lighter snow, which is just white. And that's exactly what I'm doing now. So I'm using a lighter color and adding that in so that that area acts as the highlight width, which means that that is brighter than the darker shade and the medium shade Suo was just playing around with different colors in case you feel like your shadows are gone and they're not really visible, then you can go ahead and add that in again. So really just have fun play around and make the judgment as you paint. That is why we are using a reference picture because instead of just following it as a tutorial, I want you guys to have a look and understand your reference picture and then try and do it in your own form as well and make your own goals and judgments right under where the tree is going to be. I've added a little more shadow, but in case you're not doing that, we can perfect it when we paint the tree and add in the shadows later. But yeah, this is pretty much it. We're going to wait for this to dry. And in the next lesson we will be adding a tree and add the final details. 13. Project 3 Part 3 : Winter Night: Alright, coming to our final part, which is painting pine trees and adding in some final details. For that. The first thing that I'm going to do is sketch the pine tree because I want this pine tree to be slightly more detailed. I just want to work a lot on the leaves and shape of the tree more. So you can look at the reference picture to understand the shape of your tree. Looking at your tree and just understanding what it looks like and maybe understand the placements of the branch or the movements of it. Give you a clear idea in the way in which you are supposed to work. If you notice very carefully in the reference picture, the branches are really pointing upwards like this nice curve in the branch that I want to capture. Also the branches and the leaves appear fuller, right? So I want to capture that as well. So instead of going all the way down, just to understand a few branches, I made the shape and sketch it out. But now I'm just going to go straight into painting it. So the first thing that is to use a smaller size brush, because again, it's going to give you a nice control over your brushstrokes. And the scenario strokes are the nice, the more detailed and nice painting it's going to turn out and the tree is going to turn out. The first thing that we're going to do is make this nice line, which is thicker at the base and thinner at the top as we've done in the past. And then again, starting off with really thin strokes at the top, I'm going to go ahead and paint the pine tree again. This time you will see that I'm adding more leaves and much more brush movements in each of the branches rather than just leaving it random and rounded. I would say the past few that I've done this much more rounded. This one, I want it to be nice and sharp. So I'm just going to work a little bit on thinner strokes. That is eight. That is the only change that you will see in this type of pine tree. It's much more detailed and a lot more structure in this section that is eight. So I'm just going to go ahead and start painting that area. Just adding in some more brushstrokes and making it appear fuller. Now the process is very repetitive and we've done this in the past. So you're just going to do this by yourself. Understand, look at the reference picture as well. Look at the way I'm making it. That is how I am able to analyze the pine tree and put it into brush strokes and just make it on the paper. And then you can also look at the reference picture to understand what the shape of the tree actually was and how I am sort of understanding it and putting it on paper. I hope that makes sense. I'm just going to keep quiet now so that you can follow me along and paint the tree. One more thing is that don't forget to make those leaf structures in the middle of the tree as well. Because a lot of times I've noticed people tend to make the pine trees and just left and right the branches just on the left and the right. And they forget to add them in the middle, which makes the tree look very weird. So make sure that you are adding these brushstrokes in the middle as well. And that's pretty much it. Another thing. Now, one more thing before I go is that instead of making dots to make the branches, this time we're making lines and thin strokes. And that's how we are able to get this type of look into our painting. If you notice, if you go back and notice how I made the pine trees in the previous class projects, you'll notice that I'm using much more rounded brushstrokes over here. It's much more thinner and longer brushstrokes. And that's how I'm able to get this sharp effect in our tree and that's it. Now, I'm just going to keep quiet. And you're going to watch and paint along with me. As I've reached the end of my tree, I'm going to move a little bit of shadow effect at the bottom using a damp brush and just paint from the brush strokes that we already laid out and just blend it in with the ground. This way it doesn't look really awkward that the tree is lying just flat without casting any shadows on our grounds. So make sure that you're adding that's structured in the color in. Again, just using a damp brush. There's nothing fancy needed here. And once it dries, until it dries, you can go ahead and just add in some more finer details into your tree if you'd wish to, or if you are happy with the way your tree looks, then you can just let this tree completely dry. And in the next part, which is just after your tree has completely dry, dried, we will go ahead and add snow on top of it. So that is going to be our next step. But before that makes sure that your tree has completely dry. You can also use a hairdryer to speed up the process, whatever works for you. The idea is to add in the snow once the stripe. So right now I'm really happy with the way the shape of the tree has turned out. So I'm just going to let this dry. And now that my tree has dried, it is time for us to go ahead and add the smoke. Again. This knowest not going to be just white. It is going to have a hint of blue in it. So I'm just making a shade which has a little bit of blue in it. Here you can see what the color looks like. You can also add in a tiniest bit of black into the color just to give it that gray effect. But you can also just use Prussian blue and white as is for the painting. So again, I'm going to be using my size one or zero. I forgot. But a smaller size brush before our painting, I think it's a size one. So I'm going to be using that brush to add in the final details. And right now again, we are going to be focusing on top of the, of the leaf or the branch. So you're going to be painting that at the top. And for the structures in the middle of the tree, you will be making it slightly, you'll make it slightly pointing downwards. So this word shows that that section is actually facing towards you. If you see very closely in which the way in which I'm actually making the brush strokes is the left and the right side ones are fine, but the ones in the middle are either slightly towards the left or right. And that way you are able to add in this illusion that, that it's in front of us. In the reference picture, there isn't a lot of snow on the tree. I just wanted to add a good amount of snow in that section so that it doesn't look just really flattened, empty. So adding the snow makes the tree a pure follow and nicer. So I just went ahead and added bigger blobs. And then I'm just going to play around and add in some smaller sections as well. And then again, once this dries, we can add in some more white paint on top of those structures that are closer to the observer to make it appear nice and opaque. And then obviously the others will be underneath, which is this grayish color that we've used that will act as the snow that has a little bit of shadow in it. So as I mentioned earlier, we'll use white to just add in snow at the top of the layer that we've already added in some places. You don't have to do it in all the sections. You can just do in a few of them and make sure that you're adding it on the top per section, not that the bottom one. And that we will be able to add a little bit of shine into your snow. Lastly, I am using a dry brush method to add in some texture to the snow, just so that it is a little bit of finer textures on the snow rather than it being just flat. And for this, I'm using white paint and using the dry brush technique. I went ahead and add in some textures on my snow bit. Alright, now, I'm not really fond of the way the star looks. So I'm just going to fix that. And I will do that by making it into, turning it into a mold. And again, this is a very good example of the way in which you made the judgment as you paint as you go. If you don't like something, you would change it. I've just added some more stars, and instead of just making them one-by-one individually, I decided to tap in some very, very fine stars as well, not overdoing it very fine, very few. And then again, as I mentioned earlier, I will change this into a mood. I'm just drawing a circle first using my white paint. And then I will use my damp brush to soften the edges. This way. It'll create a nice glow around my moon. So using a damp brush will just soften the edges. And you can also use a towel to brush off or wipe off the extra water or paint that you pick up. Because sometimes you might pick up paint and then spread it around as we go to create that effect. So make sure that your brush is nice and clean when you are cleaning off the edges of your paint. And then I've just added some more paint on the left side so that it looks like a moon phase. One of the moon phases that turns into a full moon as a squad for that look, but you can just add in any moon, crescent moon, full moon, wherever you'd like. Once you are Moon is dried, you are going to peel the tape away from the paper and make sure that you read these nice crispy edges. I did ended up tearing a tiny bit in the left side as you can see. But I'm not really upset because I can easily fix it by just using a little bit of gray paint. The only thing that I'm happy about it is that it wasn't a big tear, luckily. But yeah, this is our final painting. I'm so happy with the way this has turned out. I know this might be a little bit tricky to work with because we've got mountains and the textures on them. But I hope it wasn't too difficult and I was able to break it down in easiest steps for you. Here's a closer look at your painting. As you can see, we've got beautiful mountains. We've got gorgeous textures on them. And we've got a beautiful pine tree with snow and moon and stars. It's just such a pretty painting and pretty concept of landscape all put together in one over winter landscape. Put together in one. This was a D3. This is what we are going to paint in the forest. So see you there. 14. Project 4 Part 1 : Solitude Tree: Alright, welcome to day four. I'm so excited to paint this class project with you. Let's talk about the shades that I'm using. I'm using cadmium yellow, primary, red, Prussian blue, burnt umber, titanium white, and lamp black. So as you've noticed by now, we're using very similar, I mean, just the exact shades actually for all our class projects. But at the end, our final result always readings in the shades. This is all about color mixing and the cool things we can do with color mixing. If taken the shades out on my palette and taped down my paper on all four sides. So the first thing that we are going to do is create our basic sketch. So take your pencil and you're going to sketch out what you see. As you can see in the reference picture, we have one ground, right? So you're going to sketch that in dividing a paper in two-third and one-third, almost just going to roughly draw a line. You don't need a scale because we don't want that sharp line. But we want the ground to be just nicely uneven, not exactly sharp, and a straight line basically at the top of it. I'm going to make these uneven mountains in the background. As you can see, there are certain things that I will be changing about the painting as compared to the reference picture. But we'll try and keep our main subject that is this tree, same, right? So this pine tree is here, the shape and all is very different. We'll talk about it when we are actually painting the tree. This is almost like a view that you get off this tree standing right in front of it. If you're obviously these pine trees are really tall, right? So because of that, the shape of this appears to be different culture slightly tilting your phone upwards while taking this picture. So that's how you're getting a different outlook on the shape of the pine tree. But nonetheless, we're going to be painting the same structure that you see in your reference picture. So not sketching out the tree all the details of the tree right now, because we're going to paint the sky and it's going to go. So we'll do all of that when we are painting the tree. So starting off with my flat brush, we're going to paint the sky. If you look at the reference picture, we've got some beautiful yellows and blues in the sky. We're going to achieve that just starting off with yellow, I'm going to mix yellow and white because yellow just adds is very vibrant and I don't want to use such a vibrant shade in my painting right now. So I'm going to add a little bit of white to tone down the vibrancy of the color. And using my flat brush, I'm going to apply it at the base by now. I'm pretty sure you would have gotten the hang of things. Gotten the hang of how we work through from scratch, how we're working upwards, how we're working towards art, painting. By now, I'm pretty sure you've gotten the hang of things. How you look at a reference picture, how you understand the colors and put them on the paper. So I put the darker yellow at the bottom and on to that mix, I've added a little bit more white to tone it down even more and make it much more lighter. Added that slightly upwards and blended it out. Again, I'm going to repeat the step so that I get an even lighter blue or yellow, sorry, not even lighter yellow. And then you move it upwards and then going in this left and right motion, you want to blend it out. Here you can see the three shades and if coordinate gorgeous blend, gradient, blend in our yellow, the blue, I'm going to mix Prussian blue and red together. I love this color combination, really mixing blue and red together to get this like a deeper blue shade that has a hint of red in it. Now obviously you can play around with the color. And what I mean by that is you can always play around with the ratio of the shades, which means you can either add more blue or more red. And depending on what color overpowers more in the mix, it's going to be like that. So if there's more red, the mix will be moving towards the purple side. If it's more blue than it will be, obviously blue or more. And then obviously white plays a very important role. So to tone down the color, I've added white. Then sort of repeating the same step as we did earlier with the yellow. You're going to just take white and blend it out. I'll probably get two or three shades of blue in whatever makes it easier for you to blend and move around to that. Right now the idea and the thing that we're going to focus on is blending these two shapes together. So as you've learned before, that blending them directly but create that muddy green color that we don't need. So to avoid that we mix it with white. And then obviously over here I'm going halfway with my blends just to try and create an uneven blend between them. What I mean by that is maybe in one block, in one section, they might be a little bit more white on the right side and a little bit more blue on the little less blue on the left side. I mean, I hope you're understanding what I'm saying. The only thing that we're doing here is blending. Just go ahead with the blending. The thing that I was trying to say is that if you can always work around with your brush, maybe certain places you can make more blue and certain places you can add more white. It doesn't have to be a straight blend, gets straight blend every time that you blend these colors. Right now you can see I'm bringing the blue down or more on the left side and I've left the right-side adds is right. So you can always play around with your blends. It doesn't have to be a straight, clean, crisp, and blend all the time. Right now I'm happy with how the blend looks. You're going to wait for this to dry and then we'll move on to the next step that is adding the clouds. Alright, now that my base layer has dried, it's time for us to add clouds in our sky. So for that, I'm actually going to use a mix of yellow and red and white together. I don't want to use just yellow clouds are just very orange clouds. I want the clouds to focus more towards the yellow orange shade. Obviously the yellow consistency or quantity or ratio is more. And obviously the white is more tools. You've got a really, really light shade of yellow, orange color I would save, like I said, yellow. The quantity of yellow or the ratio of yellow is more. You can always play around in this section and play with the clouds and colors. Really just the idea is to explore and learn because that's the only way you will learn. I will teach you how to do certain things, how to make certain things, how to blend certain things, how to make a particular element. But unless you do it yourself, unless you are try it out for yourself. Experiment with the, with the colors yourself, you will not get a hang of it. At this. This is coming from personal experience as well. When I used to watch videos, probably on YouTube and just learn and try to do things. I would never get it right when I actually just stopped doing that and started experiment egg-like, learned a particular technique and started applying them on my own, and experimented with colors, and experimented with lights and shadows. I got a better understanding of how things are done. Anyway, coming back to the painting, we are making these linear clouds. Can look at the reference picture to understand the placements of the clouds. Or by now I'm pretty sure you know that we are using the dry brush technique, how we're moving our brush. We're going in this horizontal motion and tapping and moving. This way. We're able to create these type of clouds that are much more flatter, I would say. Now you can make, you can make these clouds long. And what I mean by that is it can be a continuation of one particular shape in a long manner. Or you can just tap in like I am right now. This sort of shows that there are very tiny, tiny sections of clouds in the sky. They're all clusters of tiny, tiny clouds in the sky together. So that is how I'm working with in this section. I just wanted to try out another way in which you can add these dense looking clouds without really having to work a lot on this brush motion, right? So again, go ahead and start dabbing with the color, this yellow, orange color and create a bunch of these clouds at the bottom. Now this is the section where we have white. You can also put this in the section where we have yellow, or you can use a darker color, the yellow, orange color that we mixed, which was, which had more red in it. If you notice the palette, I'll come back to that later when I'm adding it in that section right now, I'm focusing on this eta, which is much more like lighter. So there's a mix of light yellow and light blue together. At the section where there is more yellow, I wanted to add in a darker color. I'm mixing in the same mix. I'm adding just a little bit more red to get a much more orangey version of the shade. I'm just going to go ahead and apply it at the bottom of these little clouds that have made, again using the same motion, the same technique. Everything remains the same. We're just going to apply it at the bottom so that it adds a little bit of color into our painting. Alright, so I'm really happy with how this looks right now. I'm not going to overdo this. To blend these two colors together, you can just use a damp brush and move it around and it will become one single entity, which means you can just blend out those harsh edges and it looked like you did this together effortlessly. Now again, switching back to the clouds at the top, I'm going to be adding more white into my yellow shade. And I'm doing this because as you notice, one stroke that I made on the right side was not really showing up that well in the blue area. So adding more white into it ensures that you get a much more brighter color. Now, I'm going to use the dry brush technique and add in some more clouds. Now over here, I am going to go at this angle. You see the way I'm holding my brush. I'm using the dry brush technique now. I just wanted these clouds to feel like this sort of above you and they're moving in towards The, into us the distance. And that is why I made them at an angle. You can achieve that by just tapping your brush and dragging it at an angle. Instead of going in that horizontal motion, you can go in the horizontal motion, but just keep in mind that you will have to give, have to give these clouds a little bit of an angle rather than it being like horizontal, right? You can see that they are sort of, they feel like they're coming from the top of the paper and moving towards the left, right. Can you see how that's happening? It's coming from the top of the paper and moving towards the left soap in towards the right and the top section. Or to be more authentic, good and follow. And you can see more shapes and as they transition towards the right side, the brushstrokes are getting thinner. And this way you're able to add a little bit of shape into these clouds, a little bit off of the three-dimensional effect into your Clouds. So I'm just adding some at the top and section between them. I will be making fuel floating clouds here and there just to so don't fill in that space. Now even if you're not filling in that space a lot, it's fine because the tree is going to be in front of it and it will sort of take away from the empty space that you'll see. So don't don't be admin about filling up the space because you don't have to do it, right? So I really like the way this is turning out right now. I'm just adding some more lighter clouds. The lighter yellow shade on top of the clouds I laid at the bottom just to add in some lighter colors to it. You can skip this step if you want or added. It's completely up to you. This is a judgment that you'll make in the moment when you are painting to see if you like what it looks like. So make sure that you add in just a few little float clouds. They're having fun dancing on their own. And once you're happy with this, you are going to let it dry. And then in the next lesson, we will be adding all the details to our foreground and the areas above the horizon. 15. Project 4 Part 2 : Solitude Tree: Alright, let us go ahead and paint all the elements that are below the horizon line and our mountains. So for that, I'm going to make a mix of brown and black together. You can add in a little bit of white into it because we're not going for a deep black color, but rather gray shade. So this is a deep dark gray shade that I've made. And using my round brush, I'm just going to go ahead and apply it all over in the area above the horizon line. Now just be careful. Do not go beyond the horizon line because we have to work with whites. So I would suggest that if you don't have those darker colors, are the darker grays that you see. You'll be able to get a white in the snow well, and obviously the shadows and this Nobel. So make sure that you're careful around the line which is at the horizon. And also one thing that you can do is not be very careful and keen about making one even blend. Be very light handed with this because we want those little empty or not empty, but those lighter spaces that you see, I have left that so that it adds a little bit of texture into our mountains without really having to do a lot of work. Again, I am going to go ahead and darken the bottom bit and add the top. I will load my brush with a little bit of white and light than the top sections of the mountains. A little bit more. Here I'm cleaning my brush and I'm going to load my brush with just white. And while the paint is still wet, I'm just going to go ahead and add it on my mountains. I don't want to work a lot on the details because these mountains are really far away from the observer. So he's not gonna be seeing a lot of details. In this section, is just going to see that there is some white snow on these mountains at the distance. So one trick to get that nice uneven blend is to work on that area. While the paper is still wet, while it's still fresh and wet on dry. In case you feel like your paint has dried, you can go over the same layer again with the same shades and then add the white. This time while the paint is still wet so that it just softly blends with each other and doesn't have any harsh edges. Alright, now that my mountains have dried, I'm going to go ahead and start working on the snow. Now for the snow, we're going to switch back to our flat brush, load up some white paint at a tiny hint of blue in it because we want it to reflect the color of the sky. In that, I'm going to add in a little bit of black and brown mix that we used. And then again lighten it up with more white. So this is the shape that I'm using. As you can see, it's a very light blue color mixed with a little bit of black and brown. They're going to go ahead and cover the area below the horizon line. Now this is going to be the lighter shade of color that you're using. You're gonna be working with different shades of blue in the ADR to show variations in our snow. So I'm just going to go ahead and apply the lighter color first and then darken it with a little more blue in that area. And go ahead and use a very damp brush. If you ever feel like your brush is dry, you can use just a little bit of water or just tapping your brush and add it so that reactivates the paid and helps you make the blending process a lot easier. Now that I have my base layer for the snow ready, I can switch back to my round brush. Or if you'd like to use the flat brush, you can go ahead with that. I'm just loading my brush with a little bit of white, just white and adding it at the top so that that area appears to be lighter. You're going to play around with different colors so that you can show that there are bits which has lighter shades and there are bits that have darker shade. Right now, mixing a darker blue color, as you can see again, using the same mix that we have used before, that is our blue, black, white. You can add in a little bit of red to play around. And this is the shade that I'm using. As you can see, it's a deeper blue shade. And using this color, you can add in a little bit of shadow into your snow. So I'm going to add the shadow right under where the tree is blended out with the previous layer. And then again, you can add it all around at random places just to show different textures into your painting. When you do this brush stroke while the paper and the paint is still fresh and wet, it will blend out a lot easier rather than doing it once the paint, once that section is completely dry. So you want to work on this layer while it's still wet so that it's easier to move around and blend. So as you can see, I've added a little bit of darker color. And if I feel like I've added too much of the darker color, I can load my brush up with some white and then make these vertical, horizontal strokes again. And just blend everything out. Alright, so right now, I am really happy with the way the blend in the snow looks. So I'm going to wait for this to dry before we go ahead and add a tree. Alright, now that my base has completely dried, you can see we've added a lot of nice textures into our snow, added some shadows and some highlighted. It's switching to my size, one round brush. Just a small sizes. And Russia are going to make a deep color that is black mixed with a little bit off brown that is burnt umber. And I'm going to make this deep, almost black color. And that is going to be the color for your tree. Make sure that the consistency of the paint is not very thick, but not too thin as well. Because if it's too thick, then you will have problems in making the brushstrokes. And if it's too thin, then you'll be able to see the previous layer which we don't want because this tree is nice and opaque, right? So you're gonna start off at the bottom. Exactly why you'd show the tree. If you cannot see the drawing, you can go ahead and draw it again. I'm going to go ahead and make a big trunk standing up, nice and tall first. So carefully go with your smallest size brush you can have some little pointy edges to this, to the tree as well. You can look at the reference picture to really understand the shape of the tree. Because unless you see what the shape of the tree is, you will not understand what is the effect or the look that I am going for. The first thing you will do is have the base structure ready. That is the vertical structure of the tree first. And then right at the top, you will go ahead and start taking those branches and leaves out, right? So we'll start off really small with these very, very small, fine brush strokes. As you can see, the movement of my brush is really just tapping and moving in this very, very small minute where there's a very small movement in my hands. I'm just being very light and gentle with my brush movements and put the pressure that I'm applying on my brush because my brush is gonna do the job. I've started load the page and move in this it's almost like vibrating my hands, right? That's the brush movement that you're going to go for now to really understand the placement of the pine trees and in what way I'm making this, you'll have to look at the reference picture that will give you a clearer idea of how to place your branch and where to place your branch. Now as you can see in the reference picture, we have a tree which is not very triangular in shape as the other pine trees, we're going to go ahead and depict that sort of shape. It's a lot more grounded. And like I said, this picture that is taken is really from the point of view that you are standing right in front of this tree, are taking this picture. Since this tree is really tall, you're sort of looking at it upwards at an angle. So make sure that you are getting bad shape of the tree in. But if, in case you're not able to do that, It's completely fine. You can go ahead and make the tree make the pine tree in whatever way you are most comfortable with. Right here, I'm trying to depict the exact shape of the tree as I see in the reference picture. So we're going to remove the branches in the same direction as we see in the reference photo. But like I said, you don't have to make it exactly like this. You can make the tree in whatever way feels most comfortable to you. If you don't like the shape of the tree, you can always place another type of tree in front of the background that you've already laid out. And then you can work in that way as well. If you'd like to make the same tree as you did in the previous class project, then you feel free to put that type of tree in as well. So whatever really speaks to your heart in the, in the moment, go ahead and do that. The idea is to just learn as we go. And as you practice, you get better with the medium gouache. So just do whatever makes you happy, right? So right now I am going to just keep quiet so that you enjoy the process of making the tree. And if you don't want to, if you're very confused of what type of tree to make them just follow me along. The entire process is in real time, so I haven't really sped up anything. This is me making the tree in real time. So in case you feel like I'm still going too fast, you can obviously reduce the speed of the video and paint along with me. But this is the real time video, real-time footage of what I'm doing. And now I'm just going to let you enjoy that. I am really happy with the shape of the tree, so I'm just going to stop right here, stop overworking on my tree and let this dry. And in the next lesson we will be adding the snow on a tree and the final details into RPT. 16. Project 4 Part 3 : Solitude Tree: Alright, now that the base layer has dried, it's time for us to add snow and really define the painting even more. So going to go ahead with a light blue gray color, just like the ones that we've used at for the snow and the bottom. So the similar mix, you're going to use a similar mix, again, loading your brush a size zero, size one brush. And I'm first going to go ahead and using my dry brush, I'm gonna go ahead and add in a little bit of texture on the tree using the same color. Merge the tree with the ground as well. So load up your brush with a little bit of white and using a damp brush, you can just reactivate the paint and blend it out with the ground state doesn't look like two elements standing on top of each other. But it looks like one single entity. So it looks like the ground, the trace vertical and perpendicular to the town, but you have the snow covering where the tree models with the ground. Alright, coming back to our snow, you're going to go ahead and start adding the texture on the trunk first. Make sure that your brush is dry because that works really well for adding dry brush strokes. And then you can go ahead and start adding the snow on top of all the leaves that you've made using the same technique like we've learned before, adding it on the top. The left and right ones are going to appear longer and the one in front is going to be more like blobs. And make sure that you're not covering the entire branch because then you'll not be able to see what the structure of the tree is. And you want to preserve the structure of the tree. Just going to add snow on top of that layer. If you feel like you're the snow that you're adding on top is not very fight or not very opaque. Then number one tip would be to use thick consistency of paint. And number two tip would be to go over that layer again once it's completely dry so that you can make it nice and opaque. Sometimes it happens if you're not using titanium white color might end up lighter. The white snow that you add might end up lighter. So you can always go ahead and make another layer over it just to make it nice and opaque. If you are not getting opaque layers over it so that if you're not covering the black or the strokes that you're making is because you're not using a slightly thicker consistency of paint with gouache. Every time that you add a layer on top of the other one, you make sure that that layer is thicker inconsistency as compared to the previous one. Because only then you'll be able to add structure into it and make the layer nice and opaque. Right now, I'm really happy with the way the snow is coming out. If you ever feel that you added too much snow and you didn't want it to be like that, then you can always go ahead and fix your fixer stuff wherever you need it to be fixed by adding the black paint or the base color so that it goes back to the same shape. But you'll have to wait for it to dry. Because if you do it while it's still wet, then just blend out and create a gray in that area which you don't need. So make sure that it's dry before you go ahead and add anything else. I felt like the white was two are not very opaque. So I went ahead and added a few extra strokes on top of the previous one, just to make it nice and opaque. Along with the strokes and the snow on my chia, also gone ahead and added a few strokes of the same color on top of my snow as well to add in a little bit of texture in that area. It's not very visible, but once it dries, it adds a tiny hint of texture, which is good. So I really like the way it turns out once it dries. So it works really well. You can skip this step if you want. I just wanted a little extra texture in that area. So I went ahead and did that. You can also add in some grass shapes and twigs shapes around the tree, at the bottom, or at the sections where you've made more shadows? I have made them very fine because I was not sure if I wanted to add that. Just went ahead and added just a few tiny strokes. And I actually like the way this is right now. And now we're going to do is just go ahead and add in any tiny brush strokes or changes or anything that we'd like to add in a painting. Sometimes when you are done with it and we come back, suppose I took I took Kovach right now of while I was painting this, I just got up and came back. And so my painting and saw that there were a few changes that I could make and make my tree looks slightly better. So I went ahead and did that. But if you are happy with the way your tree has turned out, you can just leave it right there. Also, sometimes people are, I mean, we all do actually have a tendency to overwork or nod painting. So don't do that to see if you can add in a few extra strokes or make some branch more pointy or whatever makes you feel better in the moment to that. So I'm really happy with how this painting has turned out and what the structure looks like. So I'm just going to carefully peel the tape away from the paper. Remember, away from the paper so that you don't tell your painting. And as you can see, we have this very pretty crispy clean edges, which is like the worst part about painting with your paper taped down. I have all the four edges come off now. And painting really just comes out and looks a lot better than it does without, with the tape on. Here is a closer look of the painting. Honestly about this painting. The most favorite part about this painting for me is the clouds. I really liked the way the clouds have turned out and the mountains have turned out. The snow looks great. The tree could be better, but obviously, it's still good. It's still working well, it's still pretty and I loved the overall picture of this artwork. And that is it for day four. See you on day five. 17. Project 5 Part 1 : Birch Tree Forest: Welcome to day five, which is this beautiful birch tree forest. Can't believe we're on the fifth project already. That is, talk about the colors. So very similar colors to a previous class project. But as you can see, the shades you've mixed are so different. The colors I'm using are cadmium yellow, primary red, Prussian blue, burnt umber, titanium white, and lamp black. Let us get started. Alright, so I've taped down my paper on all four sides using the masking tape, also have pulled out a pea size amount of all the colors on my palette. As I mentioned before, obviously the quantity of white is more. So let us get started with the sketch. Now, I'm going to reduce the size of the picture. That is, the reference picture is more vertical and the people and the surface that I'm working on is much more square. So I'm just going to go ahead and crop dot Skype ocean and in bed so that it appears to be a little more square. But here's the full reference image for your reference. Alright, so first thing that I've done is made the horizon line. Now the horizon line is just right in the top portion over here. Like I said, we're reducing the size from the top for the Skype. So I've got somewhere around one-third of the paper is my horizon line. And now in this painting we have three sections that we have to work in. One is the background, second is the middle ground where you see these thinner birch trees. So it's somewhere in the middle ground where you can see a ground space. And these trees are behind that level of ground. That's going to be a middle ground section. Now you do not have to work on all the details of your trees. You can obviously leave that for later because as we paint, it's going to go, your sketch is going to go there working on the main elements first. So if you look very carefully in the reference picture, we've got a middle ground in which we have these trees, which is right in front and behind our foreground. Then all that snow-covered land that you see in the background has a little bit of shrubs and tweaks that we will sketch right in the foreground. Our main focus is on these two trees. So they are going to appear thicker and bigger because they are closer to the observer. Just keep that in mind, right somewhere in-between that we have another tree which is sort of medium in size. It's not as close to the observer, it's not as thin as the trees at the background. So just keep that in mind and sort of place your elements first. I've just roughly sketched the idea of my painting out. And now we're quickly going to go ahead and start. So we're going to start off with our sky first. So switch to your flat brushes. Load up a little bit of red, right? So I'm using primary red, adding a little bit of yellow in it to make orange color. So you'll have to sort of add yellow or red depending on the orange that your color is giving you. Or you can just use orange directly and add it with a little bit of white, whatever is easier for you, go ahead and do that. I like having these basic colors on my palette and then working my way and mixing. But if you are still not comfortable with that, to break your head on it, go ahead and load up some orange mixed with white. Here's the shade that I've gotten. As you can see, it's a nice warm orange color. And we are going to go ahead and apply that at the bottom. And right above that, I want it to transition to a yellow shade. I'm going to mix yellow with white just to tone down the vibrancy of the color, apply it on top of the orange that we've already laid out. And you're going to move in this left and right motion. Now, whenever I want clean and very even blends in my sky, I go, I tend to move from left to the right, extreme left to the extreme right. But in case you do want that clean blend, you can always stop midway so that The order doesn't reach the extreme ends. As you can see, it's not reaching here. Next I'm making a blue shade. So I have blue mixed with white and you can add a teeny tiny bit of black in it as well if you'd like. And you're going to apply it at the top. Now as you can see, the color of my sky is very, very light, not going for a dark blue color. That is why I've added more white into my paint. Now what I'm gonna do is just switch to plain white paint to slowly start, to try and bring the blue downward, slowly. Going to do that. And the trickier to have very clean blends is to clean your brush. I was taking a private lesson recently and I realized that I tend to clean my brush because it's a subconscious, the subconscious movement for me. I don't have to think so much. But a lot of people are not very used to that. Especially people who are just transitioning from watercolors to goulash, or they are trying both mediums. So you tend to get confused in the way you move, to remember to clean your brush and dab of the extra paint for that nice creamy wash in your painting. Now I've added a little bit of blue and a little bit of red in it to create this darker shade. And then added white to slightly tone the vibrancy of the color down. When to apply it at the top and then slowly start to bring that down as well. So right now I'm just working to and fro to fix the blend in my Skype. And I will do this until I feel satisfied with the way my sky looks. If you think your sky looks good, you like the Blend. Go for it stopped right here. Don't overwork. I was not really happy with how the yellow has sort of faded. So I'm just gonna go ahead and add that, adding a little bit of orange, adding little bit of Phi, depending on what my blend for this guy looks like. That is a judgment that you'll have to make as you go. And as you paint to make your blends even smooth or just use a damp brush and move in this left and right motion and we'll get rid of any harsh, harsh brush strokes that you might see right now. Happy with the blend. So I've let it dry. And now that this is dry, I'm going to show you how I'm going to paint the snow color. Again using a mix of blue, red, nice bit of black, and a lot of white. This is the color for the snow that I've chosen. Again, you can just use blue and this thing as well, white. Right now you're going to start off with a flat layer of the scholar, a light tone of this shade to depict your snow in the middle ground. Alright, so you're going to go ahead and cover that area. Make sure that you're not covering the foreground section that we made because we want to use and define that section. We want to use a slightly darker color and define that section. But more on that later. Right now, you are just going to create a flat blend of the shade that I just told you about. Then using a darker version of the same color, which means that we'll have a little bit of blue, an extra amount of blue, switching to my round brush so you can switch to a round brush. And I've added a little more red in it to make it slightly warmer. Then I'm going to go ahead and add textures like this. Random textures like this. This will ensure that we have some unevenness in the slope. Otherwise it looks really flat. And if you look very closely at the reference picture, we're defining the area where you see those trees, those little shrubs and those little plants, right? So I'm just defining that area, adding a little bit of white on top of it to lighten it out. If you think it's too dark, then you can just play around with different colors here, play around with the dogs, play around with the light. Wherever there is a darker tone of the color, right? We want to ensure that we get in some plants in that area, some grass, some twigs that you see in the picture. I'm adding those shadows in my snow for that exact purpose so that once it dries, I can use it for this exact thing to show that this is the shadow of the plants that are lying. And also to depict the unevenness of the ground. Right now I really like the way this looks while this dries or you can let it completely dry and then move on to the next step. Whatever you're more comfortable with, you're going to go ahead and add in those far of trees that you see in the background right above the horizon line, I would suggest that you wait for it to completely dry before you move on to this step. Now switching to my round brush, I'm making a mix. I'm going for a lighter brown color, I would say, but instead of using light brown, I want to mix black and brown together. I've burnt umber and black together and I've added white in it. Now, this makes it like a light brownish, grayish color. I would say. This is really good color going with the color palette that we are having in our reference pictures. We have a lot of browns and a lot of warmer shades. So we're going to stick to that. Right now. I am going to go ahead with this color and just pick carefully. I will just carefully go around the horizon line first. And then on top of that, I'll just add these random strokes carefully. Now these strokes need not be perfect, okay, So you don't want it to be nice and looking exactly like it does in the reference picture is just adding little dots around that section so that it depicts these trees, these far off elements of our ground at a distance. So there's no need to work or overwork on this little section. So make sure that you are just tapping your brush. Moving around, playing with shapes will make all of them the same size. So playing with shapes play a very important role in this. If all of them looks same, then it will not add to the variation that you see. Right now I'm switching to my size zero brush and adding a little bit more white into that. And obviously making some more paint because it needed that. I am going to go ahead and just define the area a little bit. So when I define a certain section, Let's say I'm defining the edges towards the right, making them appear taller. This will add a distance into your painting, a point of focus into your painting. It shows that this area is above the horizon line and at a distance. But at the same time, I want to show that probably the right side is closer, the middle one is further away. The left side is still slightly closer. This way you can add in a variation in the point of focus, in a variation into your painting. And this way you'll be able to show that the middle section or whatever section you want to go with. Really, that's why I asked you to play around with the sizes and not make them all appear the same size. Right now, it looks like these, these elements are at a distance, but there's a certain, certain sexual like the right-most area is closer to the observer and that is why the trees appear to be taller. But yeah, this is pretty much it. I'm happy with the way the trees look at the horizon line anyway, they are not really something your eyes are going to fall to first because we'll have a lot of trees in the foreground. But yeah, the next thing that we are going to work with are the trees and those little shops that I was talking about in the middle ground. I'm going to make this shade, again. It's going to appear slightly darker than the one that we used for the area above the horizon line, but slightly in the same or same color. Family, I would say it's still the same color but just slightly darker, just slightly. And using a very light pressure on your brush, you're going to make these little strokes that are going to show that these are little plants in that area. Now, using a damp brush, you are going to reactivate the base of the color and blend it with the white of the snow. Now, this will ensure that you have a little bit of shadow play going around. At the same time. It doesn't look like these graphs are, these little plant elements are just hanging there randomly. It looks like they belong to the ground. So just use a damp brush, you can clean it and then get rid of the extra water on your brush just to ensure that you're not you're not loading up a lot of water. We do not need a lot of water to do that. You just need a clean, damp brush. Alright, so I'm just going to play around in this section, added plants at that shadow that we created earlier, right? So we created a bunch of little shadows, play around with that. Add your plants on that, and then just reactivate the base and let it merge with the ground. So you're going to repeat this step in the areas that you think might need some grass. Look at the reference picture, see where the grass lives. Try to look for the placements yourself. This will also help you in analyzing the reference picture on your own because that's very important. The way in which I look at a reference picture might not be the same way in which you look at a reference picture. And that is what makes all of us unique artists. You are learning from me. Learning from me, and learning all the things that I do, the way in which I view things, right? But when you start to learn the techniques and apply it in your own way, you probably look at these elements differently as compared to what I do. So, so that is what makes each of us unique and different from one another. Alright, so I'm just going to go ahead and come back to our painting. So I've just gone ahead and added a little bit off plant elements playing around. I don't have to do the exact thing that's in the reference picture. I just have to take the idea, the essence of what the reference picture is, and then work my way through it. Change a few things that I don't like, add a few things that I would like to have in my painting. This is all about playing and having fun. Alright, so I'm really happy with the way our little grass elements are looking in the middle ground. So what I'm gonna do is stop right here. And in the next lesson, we will add the trees and the branches that you see in the middle ground. 18. Project 5 Part 2 : Birch Tree Forest: Alright, let us go ahead and start painting the birch trees that we see in the middle ground. Now, before you go ahead and start painting, you can either sketch out the individual trees again or you can just go ahead and do it as I am. I'm not really sketching it out. I'm looking at the reference picture though. So I'm going to be placing it in somewhat the similar way that I see in the reference picture. The color that I'm using is a mix of black and brown with a little bit of white. So it's just a tone darker than the previous color that we mixed. Just slightly darker than that. So I'm going to go ahead and load up my brush with this color, and I'm using my round brush here. So I'm gonna go ahead and start painting these vertical lines. Now they aren't just words because straight upwards, I'm going to give them a slight bend that Ben is not like a curve, that's almost like a slant. So your tree is not going to go straight upwards, is going to slightly slanted towards the left or the right side. Also, talking about the thickness, you'll have to make sure that you're not making it too thick because these trees are still at a distance. So remember to not make them to take. That is one thing to keep in mind. The other thing that you can do to keep in mind is that I said make it slanting slightly, could make all of them straight or all of them slanting. Now one thing that you can do to make a painting look much more natural and probably bring a little bit of realism in it. And you can do that by making the trees slant in opposite directions. What I mean by that is if there are two trees next to each other, they're not going to be straight up or slanting both of both of them. And I'm going to slant towards the left, or both of them are going to slam towards the right. You're just going to bring that little variation into your painting by giving it opposite directions when you're making them. As you can see, I'm not making two trees in a very similar way. They're all going to be slightly different. If one bend towards the left side, the other will bend towards the right side. And by very little degrees it's not a huge land, it's just a very minute slant. But again, if you are comfortable, you can go ahead and sketch your sheets out first before you go ahead and start painting them. Now to approach birch trees, there are two methods, alright, so as you know, birch trees, the trunk is very grayish or white or yellowish and it has a paper like texture to it, right? If you've seen those trees, we'll see that it has a very cardboard like finish to it. So there are two ways in which you can achieve this look. One is by painting a gray color first, and then going ahead and adding textures with the black or the darker color. Or you can go ahead and make a dark base that I am doing right now. And then add a white textures on top of that. So it can be done in both ways. I like doing the darker base first and then adding the whiter layer over it because that's how I see it in my head. But there are both ways to achieve this. They both give a very different look to your trees. The grayish base turns out to be a lot more brighter as compared to this method that we're going to approach our birch trees with, which is the dark base. There are two ways in which you can do it. It also depends on the reference picture. If your tree is look much more brighter in the picture, you can go ahead and use the white base, I mean the grayish base first before you go ahead and add the black color texture. But over here I felt like the trees did look slightly darker. So this was the method that I went in. You can try both methods to see what you like in your painting as well. So maybe you can do this one as I'm doing, and then you can practice this again with a different type of tree color combination, right? So that way you work on board, the way I am done layering, the first layer for my trees, I'm going to wait for this to dry before we add in any textures. Alright, so now that this has dried, I'm going to switch to a small size flat brush. Now if you don't have a small flat brush, don't worry, you can just use your own brushes as well. I'm using a size zero if I'm not wrong is a size zero? Size one. Size one makes more sense. Is a size one flat brush. It's a very it's a detailing brush that's really small and size, but you can use your round brush as well. I'm making this gray mix of color, which is in the same color family of which is a mix of black and brown and white in it. So it still has that warmer undertone to it. Rather than just being flat, gray. I'm going to go ahead and add the textures on my trees. As you can see, they're very fine textures, right? So I'm just going from left to right and on. I'll make a few strokes from left to right and then switch the direction and have some strokes coming from the right-to-left. This way it will give the illusion that the branch is circular. It's cylindrical, not circular, cylindrical. That's the word. It'll be cylindrical. And to achieve that look, you will have to work in textures alternatingly. Which means that you will have some strokes on the left side. Move upwards, then move to the right side, add some strokes and then just switch, just alternate between the two. And that way you'll be able to add gorgeous textures in it. Now, one more thing that you can keep in mind is you can bring whichever tree you want to be in front by going ahead and adding the strokes on the front tree at the intersection. Now I will show you when it comes when I'm painting that section so that you understand what I'm talking about right now. I'm just adding the texture as you can see, going left, moving from the left and then moving from the right. Adding textures or the right Coming to the middle, adding textures on the left coming to the middle, since the area is very small. You can also add these straight strokes in the middle and then some on the right and sell them on the left. So just play around with this area. It's a very small surface that we are painting on for the texture. So it doesn't matter if it doesn't turn out really well. Over here. I'm not using the dry brush technique, but I'm still going with a very thick consistency of paint. So it's almost like I wouldn't say Paste, but like creamy consistency. That would be the way in which I describe it. Now what I mean, I was saying that you can bring the tree in front as you can notice, the left tree, I didn't make any brushstrokes in the middle where it intersects from, intersects the other tree. When I paint the other one, I make those textures in front. This way it gives the illusion that the one that is slanting towards the right is behind and the one that's moving straight upwards is in the front. That is how you can bring in the effect that one tree is slightly in front and the other one is at the back. So right now you're gonna be adding the textures on all of these trees. And then we will move on to the next step that is making the final branches. Alright, so I'm really happy with the way the textures have turned out in these trees in the middle ground. So we're going to let this dry and switch to our size zero round brush. Basically, you need a brush with a very, very fine tip so that you can make a lot of thin strokes because that's the idea, that's the branch size that we're going for. To make the branches, they're not going to be like your normal tree. These branches are going to be moving upwards, but they're still going to be very close to the tree. And what I mean by that, it's not going to fan out a lot, alright? It's going to be very narrow and closer to the tree as you can see how I'm making the branches, it's going upwards, moving upwards. Not a lot of branches, right? Not a lot of other details coming out from the first branch that I put out. And it's moving upwards, very narrowed in. And that is going to be the technique that we're going to use. You can look at the reference picture to understand how the branches are coming out. There are a lot of branches that are there in the reference picture. So honestly just put that aside and go along with the flu. The idea is to remove these branches coming from the left and right side. Now one more thing, one more tip to keep in mind is that suppose the first branch comes out at the top and towards the left side, the other one is going to not be on the same level. You're going to make it slightly lower. So bring in a little bit of distance between them. Don't make them on the same level, bring it down, and then move it up. What? All the branches are going to move upwards. So remember that and just make these branches all over your remaining trees. Now this is a very time-consuming process. I totally agree with you. Honestly. There were so many branches that we could put into a painting. I still went ahead and removed a lot of branch details so that this doesn't end up being a really long project because there are a lot of details that you can add, but I tried to simplify it as much as possible. One more thing that you can actually get out of this is practice your brush strokes. So when you make these branches, you'll get a good hang of how much pressure you will have to apply. When you keep doing these repetitive motions with your brush, with your hands, your brain gets used to it. So when you end up painting something by yourself, you automatically know what you have to do and you know how much pressure to apply. You also learn a lot about your brushes. So this might be something that takes up a lot of time to do to reach the final outcome. But at the end of the day, you're learning a lot of, a lot out of it. You are learning a lot about the pressure, like I said, the hand movements, the brushstrokes. And it's going to be beneficial for you because you'll end up using these type of brushstrokes in your paintings that you pick up and decide to do on your own. These are very simple brushstrokes. They can be used everywhere. It's not like it's specifically for this project itself. So that's the cool part about learning from these classes. Now what I've gone ahead and done is added a few strokes at the bottom as well, just to show that these are some plants at the base. They're not trees, just some twigs and branches and at the bottom just like we did in the middle ground, in the background. So just those shapes. You're just going to bring it in forward at that line where it meets the foreground. So I'm just going to leave you over here, enjoy the music. I'm paying all of these branches in your bloodstream. Alright, so we've almost reached the end. I am so happy with the way this has turned out and it's looking so pretty, the color is really nice. It's not too dark, but not too light as well. The branches have turned out very pretty. So what I'm gonna do is just stop right here for this lesson. And in the next lesson we will be painting our foreground and adding the details to the trees in the foreground. 19. Project 5 Part 3 : Birch Tree Forest: Alright, let us go ahead and paint the foreground first, so we will add the color for the snow first before we go ahead and paint the trees, I'm going to be using a very similar color to the palette that we've used in the background for the snow, but this time just adding a little more blue into the mix. So I'm just gonna go ahead and make that mix of color first and make sure that you're using a flat brush because it covers up a lot of area using flat brushes. So use your flat brush and just go ahead and load up some color and add in this first so you're going to lay it flat first. So not it doesn't have to be a very clean wash, but just go ahead and cover the entire area with the shade before you go ahead and add in the shadows for the trees, make sure that you're getting all those edges, right. So where the line was, it can go slightly above that so that you don't miss any white spots and don't miss anything. Make sure that you're covering the entire area so that it doesn't look like you've worked in sections. And that's one of the tricks in which you actually work. You can go beyond the sketch slightly so that you are not making it feel like you've worked in these different, different layers and different different sections. So I've gone ahead and added this bluish gray color at the base first. Now, if you didn't have the sketch, then you could have sketched the tree again. The idea is to actually make the shadows in the area where you see the tree now doesn't have to be like an exact shadow. What I mean is that it's not like the sun is falling from the opposite direction and casting a very sharp shadow. No, I just want to add in a little bit of different shades in my snow where the tree is. I'm going to be adding a little bit of black into the mix and a little bit of blue so that I get a darker version of this color. I'm gonna go ahead and just add it in where I want to show a difference in the way the ground is. I've had two trees. As for the sketch, as you can see, I'm adding a little bit of gray right under that. And then obviously I'll blend it out, blend out the edges status not that sharp. I also decided to have two more trees in the foreground itself, but slightly behind the bigger tree that you could see. And then I went ahead and added some more texture using the same gray color just to play around in that area and just have different shades of the snow color. If you think that, suppose you added too much gray, Let's say you want to fix that. You can always add in white or water to blend it out with the previous color so that it's not as overpowering as you think. I'm just going to use a damp brush and get rid of those really harsh edges on my shadows. And fix all of that and write and let it dry. Alright, now that this layer has dried, as you can see, there's quite a lot lighter as we thought it would. So keep that in mind whenever you're painting with gouache, the color is going to dry out slightly lighter than it appears when you first lay it on the paper. Now we're going to go ahead and paint the tree. This time the color is going to have a little bit more black as compared to the previous layer of trees. I look at the reference picture for the way in which the tree moves. Left tree that is slightly behind the main two trees. It's still think towards the left a very sharp that actually you can make that in that way and move it upwards. And the right one which is in and around the same level, it's just going upwards with a slide tilt towards the left side. So you're going to paint that first. The reasons why you're adding more black into the paint is because this is in the foreground. So you're going to be able to see it much more clearly. Now using a damp brush, you are going to reactivate the base and just merge it with the ground, clean your brush, and then you're going to go over that area again so that you get rid of the harsh edges. And now it looks like it's a part of the tree and you're going to let it dry. Alright, now that this has completely dried, we can switch to our round brush. And this time I'm going to use dry brush technique. You can use your round brush or your smallest size flat brush for the texture. And using the dry brush technique, you're going to go ahead and add in the details on your birch trees. Like I mentioned, some from the left side, the right side. And also using a very dry brush, you can just brush it vertically as well for the texture. But since this is still in slightly at a distance from the observer, I'm not going to add in a lot of texture in that area. Are those watercolor textures like I was talking about. Moving onto my right side tree. Some strokes on the left towards the middle, some from the right towards the middle. Using the dry brush technique and add in beautiful textures. So go ahead and do that on both the trees. Once you're done with this, you're going to let it dry before you go ahead and add in any branches coming out from that area. All right, So I like the way the texture has turned out using the very similar method that we did in the past for our little branches in the previous trees, we're just going to repeat the same step and have some branches coming from the left and the right side. Now you don't need to have a lot of branches, just have a couple on the left and a couple in the right side moving upwards, not coming out and fanning out a lot. Keep that in mind. That is like literally the way in which you remember the shape of the tree. You have to remember that don't make it really fanning outwards. It has to be very close to the tree. So I'm actually really happy with the way these two trees have turned out. As you can see, there's a little bit of darkness and it would show us that it is in front of the other trees. But when we lay in the other two trees that we have in the main foreground, they will appear to be in the middle of those two layers. So that's pretty cool. I really like the way this is looking right now, so I'll let this dry and then we will move on to the next tree. So once, now that this has dried, we are going to switch back to our dark black brown shade. Mix this color using burnt umber and your black paint. And then you're going to go ahead and make a thick, nice trunk of the birch tree. Now you can look at the reference picture to give the tree the direction it needs. Or you can just make them sort of moving upwards without a lot of tilt and slant in them. Now the right side tree is just slightly more in front of the left one. Just give it a slight variation so that it looks a lot better than just being in the same line. Now I've added poetry's sort of vertically upwards, not slanting, are moving towards a particular direction. They're pretty straight up, moving straight upwards without slanting the other traits that we made. And right now you can see that the tree looks like it's just standing flat on top of our snow. We're going to give it that blend using your own brush. I'm going to reactivate the base and just move ahead in this circular motion as you can see. And this way it ensures that you have sort of soften the sharp edge of the tree and blended it out with the ground by reactivating the color on the ground, the snow color. Now, make sure that you clean your brush and Casey load up a lot of black because otherwise they'll just move everywhere. I like the way this looks now, so I'm going to let it dry. Alright? Now that the base is dried, we are going to go ahead and add in the texture. Remember how I showed you that you can either add the texture, make the trainee the gray, and then move on with the black textures or have the black or brown base and have the textures in Greece. So I prefer having it in gray at the top. So I'm just going to go ahead and using my smaller flat brush, I'm gonna go ahead and add in the textures. Now at this point, you will be paying more attention to the details of the texture. You will have to look at the way the texture is on the tree and then go ahead and add in the texture. Now it's again in the same format. And what I mean by that is left to slightly right in the middle and right to left in the middle. Still preserve the little black space. Don't make them very continuous. You want to leave some spaces on the sides as well. So the format in which you make the texture is the same. But it's just that this is going to be slightly bigger and more space to work on. So you'll have to add in more details. Now there are times that if whiter dries, it's going to dry out lighter. So you can go ahead and repeat the process again, just to make that section turn out to be a little bit brighter. It all depends on the type of paint you're using. For me, titanium white is pretty opaque. So it works out for me in one layer or at max two layers. I'm going to use a dry brush technique to add in some more texture on my tree, like I said earlier, that watercolor texture. So I'm going to add that using the dry brush technique. If you move it upwards, it adds those vertical strokes into your trees and just really adds into the details. So now that I'm done with the left tree, I'm going to move on to the right traits repeating the same steps again. Once you're done adding the texture to your tree, a wing, Good luck. Those few branches like we did in the previous tree. On my camera just started going all crazy out-of-focus. So I'm not including that part because it's very shaky and blurry, so you're not able to see it. But all I've done is added a few branches from the left and right side, keeping in mind that the size of the branch is going to be thicker, slightly thicker. I'm just a few towards the left and the right side. Now, what you can do is you can pause in that exact moment, which is right now. You can pause in this section and make the tree before you go ahead and do the other things, I've just gone ahead and added some twigs, a little grass shape at the base as well, just to add in some little textures of the tiny details in the foreground. So I'm going to repeat that step with you. But in case you have not seen, you can stop right here and make the branches first before you go ahead and add those little details. Alright, you will be adding the grass detail and then using a damp brush, you will also reactivate the base and make it feel like it's a part of the ground rather than it being just dead on the lying flat on the snow. So I like doing all the grass shapes first or just a lot of them first. And then using a clean, damp brush, I reactivate the base and just make it look like it's one part of the picture and not just different layers over one. So right now we're just going to reactivate the base layer, which is the snow. This sort of mix it around so that it blends in with the grass and the twigs that you've added over it. And other than that, you can just go ahead and play around. Adding some more depends on wherever you want it to be. If you don't like how they look, then you can not add them as well. This is completely a personal choice. I just felt like adding some so that the snow in that area does doesn't look so flat. Now I'm going to load up my brush with the same color and just tap it around very lightly to create just some few dots to fuse plateaus of snow, of black dots on my snow. Just very, very fine. Don't overdo that because it's very easy to overdo it. And the trick to that is don't use varied pin consistency of paint because then you will add up a lot of these dots. We don't need a lot, just a few little splatters on the foreground. Then I've gone ahead and added some more details for the cross to split up what I felt was necessary. So now it's actually really your time to look at the painting and see what's something that you can add in it or what's something that you can fix and play around? This is the section, this is the time to look at it. Some more grass if you feel like it or just blend out the ones that you don't like, adding some splatters if you'd like. So really just play around and see what other changes that you can make. If there are any. If you are happy with your painting, then you let the whole thing dry and try not to overwork on it because there's a very fine line between having enough grass shapes and twigs to really having a lot of them. So make sure you don't do that and take a step back and let it completely dry. I'm happy with the way this has turned out, so I'm going to let it dry. Once it's completely dried, I'm going to peel the tape off. Now I'm gonna do that by just pulling it away from the paper to reveal these nice clean edges. And that really brings out the painting to life. Other appealing does look good without with the edges as well, with the tape on the edges as well. But when you really feel the tape off, the extra paint around the sides cause, and the painting has that nice white border around it, which makes your painting look so beautiful. Even if you made any mistakes, it's going to get covered up. Because you're going to see the painting in a lot, in a lot better way because of the edges. Anything looks good anyway, intake looks good to me honestly. If you have those nice, clean, crisp edges. So be nice and gentle with your tape and make sure that you're not telling your paper. And now that all the tape has come off, Look at how beautiful our painting has turned out. I love the textures that we were able to achieve on our trees, those little branches. The color of the sky and the snow is all to die for. I am so happy with this. And this was the five. I hope you enjoyed watching this one. If you did, please don't forget to upload your class projects in the project section, and I will see you on day six. Buh-bye. 20. Project 6 Part 1 : Bright Winter Day: Hello, Welcome to Project six, which is of this bright winter day. Now the colors we're using a very simple. They're just ultramarine blue, burnt umber, titanium, white, and black. So just for shade is what you need for this class project. So let us get started. Alright, so I've taped online people on all four sides using my masking tape and taking the four colors out on my palette. Now, if you don't have ultramarine blue, you can go with Prussian blue as well. I just wanted to sort of change the color for this guy went with ultramarine blue, but if you don't have it, it's completely fine. So the first thing we're gonna do is create a sketch. Now as you can see in the reference picture that's on the side, we've got a beautiful daytime sky below that, right at where I would say the middle ground is, you have a very uneven sort of horizon line that you can see. I'm just roughly sketching that in the background we have a slightly mountain structure. I wouldn't say a mountain. It's probably like a hill. That area with a lot of pine trees right there, a lot of pine trees with snow on it. The foreground you have a couple of bigger trees and then some smaller ones as well. So I've got a lot of pine trees that will have to work on this time. Right now what you're going to do is just sort of understand the placements of your trees. Where the backtrace out where the middle trees are and where our two front trees are. Now it doesn't have to look exactly like that, so don't really worry about Getting them in that exact spot or the exact size. All you have to do is remember that there are some trees in the background right above the horizon line. And there are some in the middle ground and there's some in the foreground. I'm also sort of sketching out where the lighter and the darker parts of the snow are going to be. Just to give myself an idea in how I'll be working on the textures for the different levels of the snow that is there. Other than that, I've just put out where the trees are going to be and I'm happy with the sketch. We're just going to get started with the sky. Now, I'm pretty sure by now you're pretty much familiar the process of things, right? And how I tend to work with my paintings. Now, a lot of artists probably don't prefer adding white into everything, every color that they work with. I like how white adds a little bit of softness into the colors. So I add white and everything that I paint, every landscape that I paint, I make sure that I had a little bit of white in it, even if it's a darker color. Now, over here, instead of going with our clean flat wash, Right? We were going left to right in all our paintings after now we're going left to right for the Skype. This time I'm going diagonal. And honestly, we're not working on the sky in the exact way that we see in our reference picture. We're just going to create a sort of a gradient looking sky in which the leftmost part of the sky is going to be vibrant. It's going to be whiter. The right on top and the bottom is going to have a little bit of a deeper tone of the blue shade. Now if you see the way in which I'm moving my brush, I not only move it flat, I move it slightly diagonally as well. What I mean by diagonally, I rotate my brush and get the pinna part of my flat brush to get into thin strokes that you can see in the middle that I created. So you can really work with the flat brush to not only get flat washes, but also nice thin strokes and add in a little bit of texture into your Skype. So you can achieve beautiful thin strokes and textures and looks interior sky without really having to work in different layers. Right now we're working on one layer, but at the same time, add a little bit of white in that Ada that shows that it's a lighter part of the sky. This is pretty much it. I actually liked the way the sky looks, so we're going to let it dry and then move on to the next step. Alright, now that my sky is completely dried up, we are going to go ahead and paint the pine trees that are at the top. Now, this is not a very detailed version of that. So we don't really have to put in a lot of effort to get each and every tree, right. We're just going to create one background wash and then work on the snow that is on top of it. So I'm creating a mix of white, burnt umber and black. Make sure that the color is not too dark because then the trees that are in front of it will not really show up on that. So make sure it's not too dark. And then you're going to go ahead and use your round brush and create these vertical strokes. Now, I am saying to create these vertical strokes is it really adds to the detail to the top of your pine trees. They're not flat like the other mountains that we did, right? So we need to bring in a little bit of detail at the top, even though the bottom looks a lot more clustered. The top will have this viewpoint of different sizes of our pine trees. So you're going to be working in that format. So at the bottom, you can just use one brush stroke or two brush leg straight brushstrokes too. Covered that surface, but just be careful than at the top, you are adding details of different sizes. And in different sizes of brushstrokes really insures to bring out the different trees effect into your, into your background. I can even do this for the mountains where I have a mountain at a distance, but I don't want to work a lot on the details. And to mountain filled with lots of pine trees. Using the same method. In that as well, you will make the IP of that structure or that layer the more pointed and have a lot more details. And at the bottom you can just use these swooping method from left to right to just cover the area. That's exactly what I'm doing. As you can see, I'm not really working in different sections. I am just covering that entire area. Now, if you notice very carefully in the middle section, I got a little bit of gray. That is because I kept moving on that section a couple of times and reactivate the paint that was at the base of the blue got reactivated and started mixing with the color. And if that ever happens to you, all you have to do is load up a little bit of the darker color that you are using and just cover that area right now. I'm fine with this. I'm not really going to try and fix it that much because I have a lot of snow coming on top of this layer, so that's completely fine. It's gonna get cupboard. But in case you'd be doing something else and this happens then just load up the darker color and fix that area and it will dry out to be perfectly fine. Let's wait for this to dry and then we'll move on to the next step. Alright, let us switch to our size zero or size one brush because we're looking for a brush that will give us fine brushstrokes. And I'm going to make this grayish color that is a mix of white, black and a little bit of burnt umber. There's a lot more white into my mix. I'm gonna go ahead and start adding snow. Now look very carefully at the way in which I'm adding the snow and go into define different trees. Now the way in which you can define different trees is by working in smaller sections. And just like how we would adding snow on top of fat, cheese in those different branches. You're going to apply the same method this time make your branches seem a little bit more imaginary. So instead of really having that detailed feign for a few imaginary of branches left and right and some in the middle. And you've working in different sections. So when I worked at the top layer, I want to show that those trees are behind the ones that are working in the front. The front ones are going to have a different, is going to be a different tree and the one behind is going to be a different tree. This is how you will be adding different the look of different trees in this flat layer and bring it out to appear like individual trees. Ivc very carefully and working on these trees that I want to show that they are in front. So that's why the strokes appear bigger and slightly thicker. And then when I started working at the layer that is in the background, which is at the top. I will just make smaller strokes and stop halfway. Why I'm saying that I'll stop halfway is because there's a tree in front of it, right? So you're not gonna be seeing the entire tree now, again, working on a tree that's in the front, left and right, and some in the middle, it looks like a pine tree. And in the background just make sure that you are showing different trees and just stopping midway because you'll have to show the trees in the foreground. Now this entire structure is very time-consuming. So just enjoy this process of adding the trees and wants a gun with doing that on the entire section, I will guide you further on what you're supposed to do. Even if you don't get this exactly like how I'm doing it, It's completely fine because these are going to be in the background, so don't stress over it and just enjoy the process. Alright, now that we're done with the trees in the area above the horizon line. We're going to go ahead and paint the ground while it dries. So I'm going to switch back to my flat brush and we're going to walk on different sections where you have the deeper color and the lighter color for the gray of the ground, I'm just going to use the same color that I used for the tree, but this time adding in a little bit more white into it so that it gets lighter. And obviously to get in the lighter colors, I will use white. I'm going to start off with the first section. Like I said, I sketched out the different sections in which I'll have the darker and the lighter colors. So I have applied the darker gray at the top and then using my light shade, I'm blending it at the top, cleaning my brush, switching back to just white in the area right below the horizon line. So I want that section to be lighter. And then where the smaller trees are going to be adding in a little bit of gray. We're just trying to get different sections of the snow so that it's not flat. But rather it shows that these two are different levels of snow in that area. And because there are different levels on the ground, there are lighter bits and there are darker bits to the snow. So you're going to achieve all of that with just a flat brush. Even if, if you're, if you think that your blend is not proper, it's completely fine. You lay out the color first and then you're using your brush. You can just always go ahead and blend things in even more to make it look much more natural and flat. Alright, now that I'm done with this lesson, I wanted to go ahead and add in a little bit of the darker shades. So I'm using my gray color again and adding in the grace and the area where I want the trees to live. Now, if you made a sketch this doing this is going to be very easy for you. But in case you haven't made the sketch really properly, It's completely fine. You can look at the reference picture again and understand it. You can download the reference picture from the project and resources section so that you have the picture from which we are getting inspired from with you. So that when you probably do this, again, practice this on your own, you would do it from the picture rather than doing it from your previous painting. This way you'll be able to analyze how we look at a reference picture and go about painting that on the paper. Now, I'm really liking the way our blend is coming along. I felt like there's too much gray, went back with the white to add in a little lighter color to it. But if you think your blend is good and it's just going to leave it right here and let it fully dry. Use a hairdryer to speed up the process. And once you're done with that, in the next lesson, we will be adding the trees in the foreground. 21. Project 6 Part 2 : Bright Winter Day: Alright, now that we are done with our background and foreground, snow has completely dry, that land has completely dried. We're going to go ahead and paint all the trees that we see in between the background and are meaningful ground. So I am going to sketch out all the trees first, even the ones that are closest to the observer so that I understand the placement and how apart I'm supposed to make them the ones that are at the back, they're going to appear to be closer because obviously they're at a distance. So they appear to be more closer than they are the ones that are slightly in front. They will have a little more gap as you see. I've just noted down some of the trees just like how you see it in the reference picture. And we're gonna go ahead and start making our mix for the trees. So I'm mixing a little bit of brown and black together. Again, very similar color this time, make sure that it's darker than the previous level, but not as dark as the one that will make it in the foreground. Or even if it's the same, it doesn't matter, it's fine. You can just go ahead with a darker shade. Then you're going to go ahead and start making pine trees. Remember the size of your pine trees and the way in which the branches and the trunk appeared depends on the distance, which means how far apart they are in the picture. So if they are very far away, they will appear to have a lot more simpler strokes because you're not going to see a lot of details. And we'll just have to add the snow on it and then you can just cover up everything, right? But when you're making ones that are closer, you'll likely see more details in it. So you'll have to work a little bit more on trying to get the shape and the way in which the leaves are. Right. Now I'm going for a very simpler form of making the pine trees like I taught you in our exercise lesson. I'm pretty sure by now you have a hang of it. You're going to make these trees all over. This might take some time, but like I said, and I keep saying, always enjoy the process. So you'll be making these trees. Now. Just like how we've done in our previous class projects, how we've merged arteries to this. We're going to do the exact same thing. Make sure that you're using a clean brush and just damp brush. Reactivate the base color and sort of try and merge it with the snow. It's okay to have a little bit of shadow in that area. And that is why we do this method to actually create a lot more shadow so that we don't have to create that shadow effect separately. So instead of doing it again with a different shade, you just sort of Z wet the surfaces and merge them into one another to create a darker color underneath. You're going to repeat this process to complete all the trees that you see in your painting, except for the two that will be the closest to the observed cigarettes, skip those two like I've skipped. I know what to cover the entire surfaces with snow keeping in mind where the distance of the tree is, which means it gets further away or closer to us. Just keep that in mind on into other process. You can also do this thing where you create the tree first and then go ahead and create a shadow effect using a damp brush. Right now I'm just going to leave that brush and load up my size six round brush. And just using the damp brush, I'm reactivating that base and just adding in the shadow. And right now we're working on the shadow in a way that it's spread out moving slightly towards the left side. So I'm assuming the light is sort of top, but at the right side of my painting. And that is why you can see the shadow in that way. So there are two ways in which you can do it. One is immediately or one after you're done making the trees. I am really happy with the way this section looks right now. So you're going to let this layer dry completely. And then we'll go ahead and add snow in that section. Alright, now that my layer has completely dried, we're going to go ahead and start making our snow. So I'm using a mix of white. You can add in a little bit of your lacking it just a tiny bit to get a darker, I mean, a lighter gray color. And using that shade, you're going to go ahead and start adding the snow strokes. Very similar to what we've done in the past. Keeping in mind that you will have some on the left and some on the right and some in the middle as well. And make sure that you're not covering the entire tree because we want to be able to see the branches as well. So you should be able to see the shape of the tree. So keep in mind that you leave a little bit of space at the bottom so that we're able to see it. That is pretty much eight. You're going to repeat this step to all of them. Very reparative process, this art, this class project, honestly, it was a lot simpler, I will say, with very reparative steps. So we've done some, some complicated ones in the past. So I wanted to give you guys a break for the sixth one and have something simple, have something very easy to paint and just relaxed rather than keeping in mind a lot of, a lot of different information and a lot of different points, right? So this is lot more simpler class project, a lot more simpler things that you can paint. So just, just enjoy this class project, the upcoming class project, just slightly complicated. So this is the class project where you will actually enjoy and paint and get ready for the next one, right? So yeah, just go ahead and repeat the process until you are done covering all the cheese. Alright, so I am almost done covering my entire middle ground section, I would say with snow. And I was really happy with the way this looks because it really looks like the sun is shining right at the top. And we are in this winter wonderland place. We're going to let this dry. And in the next lesson we will do, we will be doing a final part which is painting our foreground trees and snow. 22. Project 6 Part 3 : Bright Winter Day: All right, Now we're going to go ahead and move on to our final two trees. So you have these two trees in the foreground. Now like I said, we'll be keeping in mind the sizes. This tree is going to be bigger, which means it'll be seeing more of the trunk war, spread out, crunches and leaves to the side. Very similar to the ones that we did in the first class project. So just using those techniques and those steps in mind, you are going to go ahead and paint this one. I have these branches on the left and the right side, as you can see. And then I'm making some in the middle as well. Don't forget to make them in the middle as well. A lot of times I've seen that you miss out on that and that is why you your tree and stop looking a little bit wonky and not the same way as mine do. Then sometimes you might have questions as to why my tree is not turning out the way yours is. That's because first thing, I do not make them just on the left and the right side. Now the middle portion without the snow looks very funny. I will totally agree with you on that. It looks weird. This is the time where you might think that, oh no, I think I'm doing something wrong. My tree is not looking good. But when you add in the snow, it all makes sense, especially when you're working with these types of trees where you have to put snow on top of them. You have to make a little more opaque sections. Because on top of that you'll be adding the snow and you'd only seeing a part of it. So the more opaque section you have, the better it is. So it might look weird now, but just hanging there, it's going to look good when you add in the snow. Going to be doing this for both the trees, like I mentioned, using similar step. Don't forget to blend it with the ground. So once usually at the bottom making clean-up brush and load up another brush with just water. Not a lot of water also because sometimes it might get watery and it'll be all over the place. Just a little bit of water is enough. And then you're just going to blend it in with the ground. Now if you think that you do not have enough, enough of those finer strokes and you can go ahead and add that as I am, I felt like they looked empty in certain places. So I went ahead and added a few more strokes. And right now the tree, I agree with you. It looks a little bit weird, but when we add in the snow, It's going to look much better. So you're gonna do this for 31 and then go ahead and paint 32 in the same method, just bring in a slight height difference between the two so that they don't look like an identical copy of one another. So make sure that you're bringing in a little bit of height difference, but other than that, the entire step is the same. So just go ahead and add that in. So I decided to merge these two trees with the ground together. So once I finished painting both of them, I loaded my brush with just water, reactivate the paint and just started moving it around so that they blend in together. Now if you ever feel that dark color is overpowering a lot, then you can just go ahead and load up a little bit of white and then add that ain't like I'm doing right now, and then blend it in. You always have the option to move around, fix things, change things with the garage. So it's never like you've made a mistake that cannot be corrected. So you can always go ahead and fix things if you don't like it. Alright, now that The layer has dried, my tree has dried. It's time for us to move on to our final step is to add in the snow on our trees. Now as you can see, a man in the snow in a way that I have left, right, and some in the middle. And that is why having that opaque section in the middle is good because then it covers up the area and you can still see a little bit of the darker color in it. If I didn't have the middle section, it will look really weird. If I had to thin branches in the middle, then it might not look that good. So it's good that you added in a little bit of the chunkier and thicker strokes in the middle. So you're going to go ahead and repeat the entire step of adding snow like you did in the past on both your cheese. So really just enjoy this class project. Enjoy the process of painting this. If you ever feel like you're white, is not as opaque, but it's getting gray. I'm into gray. We are going with a gray shade, but if you feel like it's too great, then you can go ahead and add another layer over this to make it nice and big are just some strokes to make sure that you have some shinier parts onto your a snow that is on the trees. Alright. I'm really happy with the way the snow looks right now. So what I'm gonna do is let that dry. And when that's drying, I'm adding a little bit of texture onto my ground by just using some white paint and brushing it over using dry brush technique. This does not make a lot of difference in this view. But once it's dry, it adds in a beautiful texture on the ground. And it can really see it when you view this painting through some side angle and not just trade looking at it, the texture turns out to be really beautiful once it's dry, but I'm really happy with the way this looks. I can see a few corrections that I would like to make, but I'm going to let everything dry first. And now that this is dry, I'm going to go ahead and change a few little, little things that is just add in some finer details wherever I feel like I added too much notes, I'll fix and add in some branches. Or I didn't add enough snow to add in some more snow. I felt like I did not have a lot of finer details in my tree. So I went ahead and added some finer strokes is to show that these are the pointy thin branches and leaves. Went ahead and did that and added some more details of the branches. But I felt like I added too much snow. Right now is really just the point where you fix things that you don't like or add things that you think will look good. So this is the moment where you make those changes and corrections. So just go ahead and do that. If you think your painting looks good as is, then please you don't have to go ahead and add any final details. Like I am I felt like my needed a little bit more work. And especially there's two trees in the front needed a few, little more work because they were closer to the observer, which means he can see much more details, right, like I mentioned in the previous lesson, it needs more details, so I added more final branches to this. But if you feel like yours look good. You can just stop right here and not do anything. One other thing I went ahead was with a dark gray color. I added some details in the background, which was the hilly pine trees, the cluster of pine trees that we made. They can go ahead and add in some more strokes in that section. But again, these things and these changes are really optional. So you just make the judgment as you go as you're making a painting. If you feel it requires a few changes, then go ahead and do that. If not, you are good to go. One last thing that I did in my painting with add a1, the final two egg shaped like we've done in the previous class project. So it's just added a few smaller strokes because I felt the ground looked a little bit flat and needed a few more elements. Just went ahead and added that and that was it, peeled off my tape. And here's a closer look at your painting. It's a lot more simpler than our previous class projects that we've worked on. But I really wanted you guys to work on something simple but yet fun. So I really had fun painting this hope you enjoyed too. Don't forget to upload your class projects. And I would love to see them. This is a glimpse of what's coming in the next class projects. So see you soon. 23. Project 7 Part 1 : Dramatic Winter Sunset: All right everyone, welcome to Project seven, which is this dramatic winter sunset. The colors that I'll be using, our cadmium yellow primary red, Prussian blue, burnt umber, titanium white, and lamp black. So I'm not going to be using blue specifically in the painting, but probably just for the shadows we can happen. So just keep a little bit of that on your palette. Alright, so I've taped on my paper on all four sides and taken all the colors that I mentioned earlier on my palette. The first thing that we are going to do is create our base Sketch. So what do you want to do is take your pencil and you are going to create the sketch. Now. You'll have the sky divided, I mean your paper divided into two parts. Obviously that's going to be the one above your horizon line and the area below your horizon line. So I have an area which divides the paper into two halves, let's say two halves. Alright, so using my pencil, I'm just going to go ahead and draw that line. Right above that. I have a bunch of different plans, or let say some element right above the horizon line. It's not very visible. Maybe it's a bunch of different trees in that area. I'm just going to roughly draw that horizon line is not a straight line that distinguish It's like a lot of snow has gathered in that area. All right. Now let's come in. Let's come to the lake river bed, not leak better job of it. So I have a sharp curves is like a very squished C and has very sharp turn in it. And right next to that, leaving some space, I'm going to draw the remaining area. It's going to come all the way to the left side of the paper. Then it's going to turn in that same sharp manner as we made earlier. Remember they will not be at that same point where the tone and what I mean by that is it will not, the curve will not lie on the same line. It will be slightly lower so that it looks much more natural. Now right above the left side we have a bunch of different trees. You can also look at the reference picture yourself. And this will give you a proper idea of what goes where we have a lot of different trees and shadows of these trees that are being casted on the river. So you have a lot of tall trees on the left, and then you have a bunch of smaller trees on the right side. Obviously, I am roughly sketching out everything. This is not the perfect sketch. Based on what we're supposed to paint. On the right side, we have smaller trees and that is why I was saying that the tone is not going to lie on the same line because leftmost area is slightly closer and the right one is still further away from our viewpoint. Somewhere not in the center of my paper is the sun. So make sure you're making it slightly towards the right side. And then obviously you have a lot of different shadows that I'm roughly sketching out. Sketching out the shadow is going to be beneficial because then you will really understand in what way they are going to appear on the painting, on the water. But you will have to make sure that you are sketching out the tree in the same way that you are going to actually be drawing the tree. Not all the branches for the major structure should be the same as how it will look on the water. Alright, our basic sketch is ready. Let us go ahead and paint our sky first. Now for the sky, you can see from the reference picture that we have a lot of warm colors in, right? So I'm going to start off with this white mixed with yellow color. So that'll be the first shade, loading it up with my flat brush because that's really nice to apply for a larger area. And I want to start off with the pen strokes with my brush. As you can see, I'm not making really sharp, flat brush strokes to this color. I will add in my primary red. And if you don't want to use primary red and yellow together, you can obviously use orange color as is. I am not using orange. I'm making my own orange mix. So I'm using a mix of primary red, white, and yellow together. You can use orange as well. Now, I'm gonna go ahead and use this color and apply it in the area at the bottom that is all around the sun. So I'm using the pen strokes as in the same manner that I did for the sun. So nice, uneven, flat strokes. You can also load up some yellow in case you got rid of that. And they're going to move this yellow upwards. And what I mean by that is above the audience, you're going to lay down the yellow and then start using these flat brush strokes to blend the orange and the yellow together. Alright. Right now, I am just moving in this left and right man of trying to blend all the colors together. Now if you notice very carefully, there is a hint of a deeper, warmer color, which is not exactly brown, but it's very close to ground. So I'm making this mix, which is a mix of orange and my burnt umber together. And it's not burnt umber in its natural form. So I've just mix the colors that we've already used for the sky in this bit so that it just doesn't look really off. So I'm gonna go ahead and mix a little bit more of the yellow, the red, and the brown color. If you don't have, if you're not using the yellow and the red mix, then you can obviously, like I said, make your make orange mix and go with that. I am applying a lighter shade of that at the top. And then now to blend it all with my yellow, I will be using a little bit of a white. White will ensure that we get lighter bit of the yellow, lighter bits of the brown color to be all mixed together in the sky. When they blend into one another, it doesn't look too flat. Right now I feel like the sky at the top looks a little bit money. So I'm just going to go around in Let's left and right motion and see if I can warm up the top. I felt like the brown really didn't do a lot of the good thing that I really wanted it to. So I'm going to go ahead and add in a little bit of a deeper orange color at the top. So as you go at the top, make sure that you are adding a little bit of orange in that area. Now, like I said, this is the moment actually when you'll be making your judgment, your call. If you need to make it more orange or if you need to make it more brown, depending on what your color mix looks like. The idea is to have a nice warm red, orange, brownish colored in your sunset in the sky. And obviously that part of the sky is not in the picture which turns almost black. Not exactly Blackboard darker gray, so that's not in the picture. Alright, so now I wait for it to dry. And once the layer has completely dried, I'm going to go ahead and make a mix for all the clouds and the little textures that you see. So I first made a mix up the color and I wasn't really happy with it. So I'm making my own mix which is a little bit of blue, red, yellow, and a little bit of brown. So I'm really just playing around with the colors that I might want to use in the sky and in the painting and just trying to get a darker version of the color by myself and just making my own mixes right now. So you'll have to really explore and have fun with the colors and mix colors. And only then you'll really enjoy the process of color mixing because color mixing is really important when it comes to painting. Alright, now I'm going to go ahead with the dry brush technique to add in these darker clouds at the bottom. Now if you notice very carefully, you have a darker set of clouds at the base, and then at the top you have a slightly lighter set of clouds. They are lighter in color. They're not as dark as the one that I've just laid out. Now, the only reason this has gotten darker is because I added a little bit of the Prussian blue in this mix to give it that slight purplish, grayish undertones that you see in your clouds at that point. So to achieve that color, I went ahead with a bit of blue in my red and brown and a slightly yellow mix. Really a lot of mixing with the colors is happening. And I am just making sure that I play around with the textures as well. Because I don't want to work in a lot of details in that area. Now to the same mix of added a little bit more of the yellow color. So that I can add this around the area that is closer to the sun because the clouds, they will appear slightly lighter than the clouds in the further left and right sections. Now, to my yellow, orange mix that I had on my palette, I added a little bit of red just to give it that orange color. As you can see, it's not very similar to the shade that we used in the background because I haven't added white in this yet. So that is why the shade appears to be a lot darker and deeper and richer in color as compared to the previous layer, which included what? White in it. Now, going ahead with some more textures using the dry brush technique, I am going to go ahead and add in some more texture. As you can see, these textures in the sky as well. They're not really like fluffy clouds. They're just little textures that you've seen in the sky of a particular color. That's exactly what I'm doing and that is adding in a little bit of texture using these colors in the sky. So I'm going to be adding this texture is just around playing with the number of flowers and the ways in which I can add the clouds. Now one thing that I would like to tell you is to not be very sort of attached to your reference picture. A lot of times people tend to be really attached to it and focus more on getting your painting to look exactly like your reference picture. If you don't have to do that, you don't have to make your painting look exactly like your reference picture. You're just trying to capture in the colors captured in the element. And as you go with your painting process, you just end up adding your own touch to this. Now, if like e.g. with the clouds that are made don't look exactly like the clouds in the reference picture. And that's completely okay because I'm adding my own touch to these clouds, the sky to the top bit, to the area above the horizon line. I'm just having fun and adding my own touch to this. Now many times you feel like when you're painting, you will realize that this looks good. Whatever work you did on your painting to add in your own stuff to it, your own touch to it. It looks good. And sometimes you'll not like what you did and that's okay. That's the learning process you need to make mistakes to grow. If you don't make mistakes and you never find out the things that you're good at and the things that you can fix, the things that are meant for you, things that you are good at. Anyway, I finished the clouds with the red, deeper color and now moving on to the sun, I'm highlighting that bit with a little bit of white and yellow mix, but I felt like the yellow in the sky around the sun. God, a little bit faded. So I'm just using yellow. And I'm just going over the color that, the white color that I laid out. Now, what will happen is you'll reactivate the paint and you'll blend it out. It's completely okay to mix it around in this rough manner, in a zigzag manner and using a damp brush, you will just sort of blend the edges out. That's how you'll go ahead and reactivate the paint at the base and make sure that the yellow unit stays there. Instead of getting lightened out. Now, right now I really like the way this looks. I can go ahead and add the sun bit area over it. But even if it doesn't have those sharp edges, It's okay. We want it to look like that. We don't want really sharp edges. You can do this while your paint is slightly wet to and you're going to let it dry. So I'm really liking the way the sky looks is definitely one of the other fun projects that I've done in this class. It was really fun painting this, and it was not only fun teaching, but it was also fun painting this painting along for the class. So now that this has completely dried up, we're going to go ahead and start adding our little elements that we can see above the horizon line. I'm going to mix a little bit of the brown and the black, make sure that you have more of the brown color because this is still in the background. It's a deep color, but makes sure that you're having more brown into young mix. I'm going to make these vertical motions to your area. This just shows that there are a bunch of different trees of different sizes in that section. You're not going to work a lot in the details, but just add these vertical, vertical strokes. And as you reach the area above the horizon line, you will just blend it in, in that manner, which is easier to sort of just reached the end of the horizon line. Right now we're just working on the top bit. And as I come down, I'm just going to fill in the section with my brush. Now you can fill in that area where you roughly sketched out this fallen snow as well or you can leave it wide, whatever you prefer. I tend, I ended up leaving it white because I want it to preserve the white of the paper. But in case you don't, then that's okay as well. You can always lay right over it to fix it. It's really in the background. So it doesn't make a lot of different to the view of the observer. Alright, so I'm really liking the way this area above the horizon line looks right now. We're going to let this dry and focus on the snow and other bits that we need to add. Later on. I felt like the sun got slightly faded, like not as vibrant as I wanted. So I'm just gonna go ahead and load up some more white and fix that area. And using my damp brush, just blend out the edges and make it merge with the previous layer. Alright, I really like the way this looks right now. And we are going to go ahead and start making all the snowpack. Alright, Now there are two ways in which you can approach this, this painting. The first would be to make the sky, make the reflection on the water, and then add in the snow and the sides. And the other is the one that I'm doing right now. In the moment I felt like that was the right thing to do, but in case you pick either of them, It's completely fine. I'm making a purple mix by mixing white, not white, sorry, blue, red, and obviously wide because that'll be the shadow bits, right? So you're going to mix these colors for a nice light ish purplish shade. That will be the color that you use for the shadows in your snow. Again, you can have different variations of it. And what I mean by that is you'll have lighter color for the snow and the darker color for the snow. I'm going to go ahead with this nice vibrant mix. And two that I've added a little bit of yellow and orange, some really just mixing around a bunch of colors until I find the perfect shade. I felt like this was a lot better than just using flat white in my painting. So I mixed all of these colors together to get an creation mix which has a little bit of flu, which has a little bit of red and yellow, just tiny, tiny amounts again on a lot with tiny, tiny bits of it. I'm gonna go ahead and cover my entire section of the snow area with this color. So you can use a lot of white to really just fill up that space. A lot of water as well to fill up that space because then we'll be going ahead with another layer over this when we're done painting the water bit as well. So I've added a little bit of purple just to show the shadowy part in my snow. And then going ahead with a little bit of the previous grayish mix and then adding that in as well and blending it out. As you can see, I'm not doing a really perfect job in this section because I really just want to mark in the space and mark in the colors. And then when we are done painting the riverbed, we will redo this and work on this section again. Now, if you don't want to do this right now, It's completely fine. You can do the lit bit first and then move on to adding the snow on the sides. I felt like this was the right thing to do in the moments I went ahead with that. But whatever works for you do that. Along with the white of the snow, I've added a little bit of a deeper color, the top where I want the shadowy part of my snow to be. Now you'll be able to see the shadowy part in the snow and you look at the reference picture, so please do keep it along with you. Wherever the trees are and whenever there is a difference in the way the snow is on the ground, you will see different colors to this. It's not going to be always flat, white. Remember that? So here are the swatches of the two colors that I have. So I am just going to add the shadowy bit with the darker color. And for the lighter color I have the lighter gray mix. Now again, this is not the perfect way in which you do it. I was just done this for the moment because I wanted it laid out before I went ahead and painted the reflection of the sky in the lake. I really like the way this is looking right now. So what I'm gonna do is let this layer completely dry. And in the next lesson we will be painting all the reflections and details in the lake bit. 24. Project 7 Part 2 : Dramatic Winter Sunset: Alright, now that this layer has completely dried, let us go ahead and start painting the color that you see in the league. But you're going to start off by first laying out similar colors that you see in the sky. So what do we see in the sky? We see that brown mix that we made. We see the orange bits, we see the yellow bits. So let us place all of that in that area, in the league bit area in that same manner. So darker colors on the areas around that. And in the middle where the sun is, you're going to have yellow and you're going to have the orange colors in that area. Now, this section does not have to be the exact reflection of the colors in the sky. Why I'm saying that is because we are not going for an exact still stagnant water. Whenever you're painting stagnant water, you can get the reflection to be exact. But whenever you're painting of water that is flowing or a moving body of water, let's put it that way. Whenever you paint a moving body of water, you want there to be. To show that movement. You will make sure that you are taught making the exact reflection and you're making it seem a little bit wobbly if I were to put it in a dome, right. So now that I have all the oranges and the deeper colors in right under where the sun is going to be. Remember to understand the placement of the Sun, alright? So right where the sun is going to be, I'm going to lay down the jello. I missed out a little bit of spots. I'm just filling that in with a deeper, darker color. Obviously, you can use a little bit of the yellow in that section because the yellow is spread out in the sky, right? So you can use that to go all the way at the back. I'm using just a deeper color. You don't need to put yellow in that section because that either gets covered with the tree that we will paint in the foreground, liter. So as you can see, I have added yellow in the atria right under where the sun is going to be carefully going around the edges of those Noland or the land that we painted. Now over here, the way in which we function is very similar to watercolors. So if any of you who are watching this class, if you've painted with watercolors, then you might find the next few steps a lot easier. Because we are going to be painting a lot with the wet-on-wet technique that we do in, in watercolors. So you're doing all the painting while the paper is still wet right under the sun. I've added a little bit of white using my round brush just to show the reflection of the sun on that area. Now, I need to also show the darker bits in my water, right? What I'm gonna do with that is just add in a darker, deeper brown in this section where the trees are going to be, alright, so I'm going to make a mix of black and brown and use a slightly thinner consistency of paint. I'm going to apply it in this corner. But if you look at the reference picture very carefully, you will see this eta is really dark, right? It's not the exact reflection of the sky. And there's lot of reflection of the trees that are happening. And that is why I'm going with this color with a deep brown shade. I'm just adding a deeper tonal value of that in the corners and then spreading it out. Then, right, then I am going to make these vertical strokes and then spoil it. Make it, and then spoil it. When you do that, it ensures that there's a movement in the water. This is one of the easiest ways in which you can sort of add shadows, reflections of the element above the ground. And to show the reflection of that on water. That's how you will do it. Now obviously we will be working in layers. And once this is dry, we will add another layer over it and then sort of blend it out with the previous cell. I'll show you all of that is, it was really fun project to pay. I pretty much sound very excited and enthusiastic about it. And this might be slightly challenging, but trust me, this is so much fun. And you are, I'm sure you learn so much about gouache when you paint with this because this one's slightly different way using a really super cool technique here. Now, right under where the two trees, smaller trees are going to be on the land. I'm going to go ahead and add in the brown again in that same manner. I'm making these horizontal strokes and spreading it out. Now these horizontal strokes ensure that this one has a movement in the water. Boiled that area by just using my round brush and blend it out with my previous layer. Obviously, we will be adding another layer over this. Right now. Just add in a hint and an essence of the color onto your paintings. They're just going to not work on the details are exact shapes in which the branches are and all that. I'm adding that in, but immediately as I do, I will spoil it and go in the horizontal manner just so that I blend it out with this guy, with the water bit. So to do this, to blend it out, all you need is a damp brush. You don't need paint. You do not need anything on your brush. All you need is your damp brush. Do not use a very wet brush because then you will have a lot of water on your, on your brush. We don't need a lot of water. We just need your brush to be slightly damp. Alright, so I felt like the white of the area had sort of gone away. I'm going to go ahead and add that in. Now. As I'm doing, I realized that the location of the reflection was not a right. So I'm just going to blend this out because I don't like the way it looked. It was not exactly under that area. So I've just blended it out. And then I will add in the white again this time please sing it right under the sun that I see. So I'm just going to let that dry a bit. You can also use your flat brush or slightly damped flat brush, not wet flat brush, just stamp flat brush will do. And I'm just blending all that color together. The idea. And the only thing that will make this painting look a lot more natural is where it's blended with one another. Alright, so I added a little more reflection right under the sun. So I'm going to let this dry. This is going to dry out to be a little bit lighter as compared to what it looks right now. So then we can add in more details later on. So yeah, I like pretty much how this looks at the moment. So let this dry and until when it's dry, we'll move on to the next step. Alright, so now that this paper has dried up, we are going to go ahead and start painting the snow bits in our ground again. So as you can see, it looks really bluish right now, right There's a lot of blue and gray color. So what I'm gonna do is just use white paint to add in the textures. Now, these textures are very similar to the ones that we've done in the past when we painted this node and then went ahead and added just white to add highlights into the snow and obviously add in the texture of the snow as well. This is exactly what we're doing. Now this step ensures that all those little whitespaces that you might have in your painting, the spaces between the lake bit, I mean, to live a bit, I keep saying Lake, but the river bit sort of blends in. So you get a nice sort of seamless continuation of your painting and it doesn't look like separate sections and objects. So it's very important to ensure that you do not leave any white spaces in-between two elements in your painting. So I'm gonna go ahead and add the snow all over the area. Obviously covered in all the whitespaces that you might see. And the way in which I'm making this is imagining where the sun is going to fall. Sunlight is going to fall on the edge of the left side and the top of the right side. But I've also added a little bit of it on the left aid, like on the left side of the right block of land. Many left right block of land. I've added in the edge of it. And then obviously I'm adding some more at the edge of the right section as well. So that's where the sunlight is going to hit R Snow. I really like the way this is turning out. It has added a lot of texture into the ground. And working into layers for snow is pretty much I feel very essential. If you don't walk into layers and you have just a flat layer of snow. When you do two layers, it makes it look much more natural. Alright, so really like the way this looks. So moving on to adding in some little ripples around the area where the sunlight hits the water. Now, this time I ensure that I am going in the area right under the sun. So as you can see, the location of the ADR really changed everything. And this makes it look a lot more unnatural. Like I said the previous day, I might try out lighter and that's exactly what happened. So adding in the white did not feel like the location was two off. Alright, so now that everything has dried up, I am switching to my size zero round brush. This brush gives me a really nice fine tip. And what we're going to do now is start adding all those little trees that you see in the reference picture. Now, you can either sketch all the trees out first or you can just go looking at the reference picture and just make those trees. You have small trees, very small details. If you don't have a brush that gives you a fine tip, then switch to a very, very small fine brush. What I mean is if your size zero is not giving you this fine tips, change your brush. Sometimes you might get really thin strokes with a size one brush or a size two brush. It all depends on the type of brush you have. We need redefine strokes in that area. You're going to be, you're going to be working in different sections. So the tree, the structure of the tree is very simple. The ones that we have learned before. It's a normal tree with a bunch of different branches. And there are many of them. So be prepared to do that. Working in this area, which is not as far as the area above the horizon line, but it's somewhat in the middle, that's called the middle ground. It's this area in the middle ground. And I'm adding these little dots as well, which shows that probably rocks in that area. There's a big, big, huge rocks along with the trees. So that's all we're going to sketch. Look at the reference picture and analyze your, analyze it yourself. When you do that, you really understand the way in which you will look at a picture, right? I've said this in my previous class projects as well. While we were painting that when you look at a reference picture yourself, you really, really addresses to it. You might not see the picture the same way that I do, right? For me, probably I see a lot more details as compared to what you might see because I've had more practice at painting. I have more experience at doing this because I've made hundreds of landscapes using gouache in the past few years. And because of that, since they're all actually derived from a reference picture, because of that, I have really built up an eye for detail. So you will only build that IF for detail. Unless until you do it yourself or I'm trying to say is you only have the deed eye for detail if you do it yourself. So all you have to do is look at the reference picture alongside my painting process. Because you'll see the reference which you will see the details. And I will show you how it's brought to life on your painting. Alright, so moving back to the painting, have added a bunch of different trees, a bunch of different those rocks and structures in that area also added a few little strokes above the horizon line for a deeper, darker color in that Asia. So I'm really just playing around with the trees. You don't have to get the trees to be the exact shape as you see in the reference picture. You can play around with the shape and the size of the branch and the, the way the tree looks. All you have to do is sort of place them in a similar manner as they are in the reference picture. Alright, so moving on to the area that is in the left land closer to us. I'm going to start off in the EDA, we're actually already sketched out the shadow. I'm also meeting these little grass shapes is little twig shave that you're pretty much done in the past, previous class projects as well. So you have your tree, the tree is going to be in any shape that you will like, make those branches in. And you'll have two main cheese that you're able to see in this section. And obviously a lot of more details with the grass and all that. So the grass and there's little structures on the land are going to be very, very fine, right? You have to be very gentle and light and soft airbrush and all the other things are all the other branches just done in that manner. When you reach the area right above the sun or the area closer to the sun, I would suggest you make a mix like an orange mix and make your branches using that color. Because even though it's a very, very fine color difference or you would say a fine detail to pull it into your painting. It really does make your painting look flat. Do that, make sure that that area that is around the sun, you make the branches using a lighter shade of color and not just that deep, dark brown. I've laid out my first tree using a damp brush. I blended it with the ground. Remember to do that, especially for the trees that are closer to us. Remember to blend it with the ground. I can play along with the details aren't as many are sort of brush shapes and those random dots to depict unevenness or areas that don't have snow. And you can see the land. We can play around with that. And play around, really just play around with this section in this structure because it's fun to play around with the painting process. You don't have to make it exactly so adding the trees the way you want and complete this, this little section, All by adding a little bit of those grass shapes around it as well so that it doesn't look clean. If an honors very carefully, honestly, I'm just enjoying the process of adding these shapes and branches. Having to think about getting it to be an exact replica of the reference picture is really what has gotten me into painting with reference images and painting landscapes. Because you can go to this beautiful places. First thing that's really, really a fun thing to do, visit these beautiful places by just painting them. And you can always add things that you wish were there or remove things that you don't like. It's always fun, right? It's always fun to add things like things in your own manor. See if you can really challenge yourself into replicating a tree to be exactly like that. So when each time you paint a landscape, you just end up enjoying the process of changing things and adding things and challenging yourself. And that really is one of the biggest reasons I paint landscapes. Alright, coming back to the waiting process, I like how this right section has turned out, so we're going to let it dry. And in the next lesson we will be adding all the bigger trees and shadows and final details to our painting. 25. Project 7 Part 3 : Dramatic Winter Sunset: Alright, so the first thing that we are going to do now is create the reflection of the tree on the water. Now we've already added the deeper, darker color in as a background layer when we were making the wash. But now we're just going to go ahead and define it even more. So going to load your brush, your smaller size brush with some paint and start making these strokes similar to the one that you see on the top. Now they don't have to be exact because like I said, we will be sort of blending it out with the previous layer. You just want to show that this little section is a little bit more detail and we're just trying to work with layers to define that area a little bit more. So I've gone ahead and added the reflection in the way that I see on the top. So I'm just going to bring in similar strokes. We see two trees. I'm trying to bring in those two are trees into my reflection. And then using a damp flat brush, I'm going to blend it out like this. You can see I'm just sort of roughly moving it out. Not enough fully flat manner. I'm also twisting my brush to get the thinner portion of my brush and then I'm going to sort of mess it around. Now, switching back to the round brush and adding in some more details, some more branches as I see. Now to get a really nice blend. Like, as you can see, that little section looks like I blended it out in the second layer. So to avoid that, you are going to use a clean brush, clean damp brush, and move it around again. So every time that you brush over this section, you kind of picking up a little bit of the paint. Once you guys to dip the brush in water and clean it and sort of re wet the surface and using a damp brush so that you're not really moving the colors around a lot. And you're just sort of blending it instead of moving everything and making it look like you did a lot of the blending process in the second layer. Alright, now that this section is dry, as you can see, I've got a really nice reflection of the trees. And it looks nice. And even so your reflection might look weird in that moment because that section is wet and the other area is dry. But let it be once it dries, it blends into one layer. The next thing that we are going to do is add in these trees that we see that are slightly bigger than our previous trees that we laid out in that area. So you look at the reference picture and place these trees. They're very similar to the trees that you laid out in the previous lean, I would say. And this one's closer. So everywhere you added that shadow, you're going to repeat the tree in that area. So this process is very repetitive. Just going to go ahead and add trees in that area and add trees in this leftmost curve where it meets the water, you add in some more strokes in that area as well. So what you're gonna do now is just enjoy the process of adding these trees in that section. So you can play around art, as many trees as you want and play around with the shape. Really just do whatever feels right to you in the moment. Alright, so I'm really liking the way this looks. I have added some more twigs and grass like shapes in the area where it meets the water. Now, we will be adding a little more off the deflection details in that section. But first I'm looking at getting all the elements in place in that area. Before I go ahead and add in the reflections, I've added some more tree shapes and now I'm going to add a bigger tree, the taller tree that you see in the reference picture. And that'll be somewhat at the corner of your leftmost part of the land. So it's a nice tall tree. You will use your round brush itself to make that. Then you will make it really nice and tall. And then to blend it out with the ground, you will be using a damp brush. So I'm pretty sure that by now you've figured it out. I switched my brush to a long-run brush. So that because I'm making because strokes, it's good to switch to a bigger sized brush. I'm going to go ahead and make a nice tall tree, some main branches coming out of my tree so that I have the basic structure of the tree is ready. Then to blend it out with the ground, I will add, use a damp brush to just mix and move the color around so that it looks like it's a part of one single entity to tree coming out of the ground. That's how you'll be able to play around with sort of like getting your tree to merge with the ground. We've done it in the past, I'm pretty sure by now, you have a good hang of things. You have a good grip over the things that the steps that we do while painting these winter landscapes. If you feel like the brown that you load up is too much, you can go ahead and take a little bit of a white to do the same process. Either way, the idea is to merge these two colors with one another so that they look as one layer instead of being two separate sections merging into one another. Alright, now that we are done with the main structure, you're going to go ahead and switch back to your smaller size brush to get in on the finer details that you see in your tree. Right now, just add in as many final branches that you can see in your trees. These are very fine strokes, so it's not like there's too much of them. Just add as many as you want in that area and enjoy this process. Then we'll move on to adding more shadows and reflections into our water. Alright, so I'm really liking the way this is turning out. Now that all the elements are in place, it's time for us to make the shadow. So switching back to my smaller size brush, I'm just going to make these downward strokes for these trees. Very light consistency of paint. It's not tooth pain, It's very watery. That's where the paint is very transparent. So remember that you're using a very watery consistency of the paint. And as you can see, as soon as I liked it, put it down on my paper, it's creating that reflecting effect. And then using my flat brush and blend it out with the previous layer. Just going to use the thinner side of your flat brush and mix it around. Move it around so that it doesn't look like it's pure reflection of what you see. We want that unevenness into our reflections. So you're going to use a flat brush so that you can also use a round brush. But I feel like fat brush gives you the option to have thinner strokes and at the same time you can cover up larger areas as well. Now that I've blended it out as gone ahead and just added a few more strokes that are more evident on our land, on the structure that was very uneven. And you can always add in more darker colors at that corner because I want that area to be darker and the others to appear lighter. So I increase the quantity of the black and add in the darker colors. I really liked the way right now the shadows are looking and the trees are looking, everything looks great. So what I'm going to do is just let that dry first. And while that dries, we are going to go ahead and add in some extra details at that foreground that you see. So I've gone ahead and added some grass shapes. Now you can add in these grass shapes and use a damp brush to blend it with the previous layer like we did with the tree. So it's the same process. Again. Make sure that you don't overdo this step. This ad and a few of these shapes, sometimes it's very easy to add in a lot of them because these are very fine detail. So you feel like, Oh, let me add some here. Let me add some there. But try not to overdo this area. Alright? One of the ways in which you will get these nice swift strokes is by being very light handed with your brush. So don't try to control it so much. The more you try to control it. The Bureau, the stroke will be strata be very gentle with it. Try to be very light with that area. Alright, now the next thing that we have to do is get the shadow in for the land that you see. Now, the land is on the water. It's not going to not cost ME shadow in the end, using my thin brush, I'm just loading the deep dark brown color and adding in the shadow, just making a line and then using a damp brush to get rid of the sharp edges and get it to merge with the, with the, with the water. So make that line and then just use a damp brush to move the colors around. Now that we're done with the leftmost section, if you ever feel like you did it did a lot of the black and the white went. Then you can go ahead and add in a little bit of the white as well. I wanted to fix the shape of the snow at that top. So I went ahead and added some white to make that a little bit more uneven and you don't like to give it a very uneven structure. That's what I ended up doing in that area. Because I felt like that was the right thing to do in the moment to make it appear much more natural. Alright, so now that this area is nicely blended with the water, I really like the way this looks. Or what you're going to do is repeat the same step on the other side as well. What you're going to do is load up your brush with a little bit of the black or the dark brown mix. And I want to repeat the step in the same way. Make sure that it's not the black, but a deep dark brown color. Because we don't want to use black directly into our painting. Very carefully. You are going to make a line where the, where the snow land meets the water. And it will make that line. As you can see, this really, really helps you define the structure of the land because your land is going to cause some shadow on the water. Doing this really ensures that you don't make some sort of pop out even more. So what I've done is just made online and blended that harsh line in. That is towards the water side of blended it with just a damp brush so that you don't get to see those really harsh lines in your painting and it's all nice and blended. Alright, so I really like the way this painting is coming along now. Now the last thing that I want to do is add texture into my painting using the dry brush technique. I'm going to add in texture into my trees. Now I'm not, I don't have to do it for all the trees. I will do it for the trees that are closer to us. And what I mean by that is this big, tall tree that's closer to us. I can add texture on that. I can also add texture on the trees that are on the right hand side. On the right side, I can add in textures on that, and I could also add textures on the trees that are in that middle range. So wherever the trees are slightly bigger, you can add textures on that area. This way you'll be able to define the structure and make, make them appear which one's closer, which one's further away. Using this texture method, you can make that easier, pop out even more. And that is the main part that you will have to do. Other than that, you're going to analyze your painting and see if there's something that you'd like to add. I wanted to add in a little bit more whiter colors into my snows or when the hair with just white and added in some texture, I felt like I could add in a little more reflection of the sun. Went ahead and did that with the white. The sun could be a little bit more brighter. So I went ahead and made another layer over the sun and sort of blended out the outer edge so that it's not too harsh. Again, went ahead and added some more texture on the trees. This is really the moment where you feel and see and correct anything that you feel is wrong in your painting or that could use a little bit more improvement. So you'll just do that. I really like the way the painting looks right now. So I'm going to peel off the tape. And here's the result. I didn't film the tape peeling process. I'm sorry about that, but here you go with the final picture. I really, really loved this class project so much. Everything about this is just beautiful. I don't have words to describe how much I love this class project. Anyway, this was it for the 7.8. 26. Project 8 Part 1 : Skiing with a View: Hello everyone, Welcome to Project eight in which we are going to paint a beautiful scheme view. The colors that we're using or cadmium yellow parameters that Prussian blue, burnt umber, titanium white, and lamp black. So by now, I'm pretty sure you know what our favorite colors for painting landscapes are. So let us quickly dive right into the painting. I've taped down my paper on all four sides and taking the colors out on my palette, as I mentioned earlier. And as usual, our first step is to create the basic sketch of what we see. So the reference picture is going to point out on your left side. So we're going to sketch out everything that we see. Obviously there is a horizon line, right? And that is where that skiing root n, not n is basically, but you're seeing bunch of trees above it. So let's say it's easier for us to sketch from there. Right above that obviously you can see a bunch of pine trees that are closer. And then there is a series of pine trees that are further away. So you're just going to release all of that just to show the different colors when you are going to start painting. On the left side. I mean, our skiing route has been divided into parts, each of which has a lot of pine trees. There's so many of these on the either side. So the only way in which you can show the variation is by making different sections in these prisoners show you how you paint that. But right now we're working on the sketching bit, subdivided my route into do little curves are little arcs. And then obviously I have just roughly sketched out the placement of the trees on the either side. In the middle, we're going to have the road. I'll try to keep this the painting of this reference picture as simple as possible, because this looks like a very simple painting. But when you come down to painting it, it can be a little bit tricky, but I will try my best to help you understand and keep it as simple as possible. Alright, now that the basic sketches study, it's time for us to start painting the sky. Now, for the sky, I wanted to go for a very vibrant and dramatic color. I didn't want it to be done. So when you painting skies that you don't want to be done, you're going to add more pigment and less of the white paint. By now. You know, watching me for the past seven days, you've figured out how I like to work with my colors. What are my preferences? I like to add a little bit of white to tone down the vibrancy. And obviously the vibrant you want it to be, the lesser amount of white you will add in it. So I'm starting off with an orange color and I want to transition to be orange to yellow to blue. I'm going to start off with orange at the pace that I'm going to mix a yellow color. And the orange color by made, was made by mixing. Why? Red and yellow, by the way, you can choose orange as is from your palette. No problem. Anyway, I've switched to my yellow color and I'm blending it in. Now, if you notice very carefully, I am not going in this straight horizontal motion. I'm trying to bring in a little bit of variation in my brush movements. Alright? Now, going for a blue color, now, I don't want it to be just a mix of Prussian blue and white color. I want a little bit of warmth in it. And I'm going to mix Prussian blue with a little bit of red and obviously white to lighten the vibrancy of the color. And I'm adding it at the top and moving it at an angle. Now I don't want the blend to be straight like I've mentioned. To give that whenever you're painting sky, you have multiple options of blending this guy. Now, it can be a straight plan, it can be diagonal blend. It all depends on the reference picture and honestly really the type of sky that you want to make. Right now, I wanted to go for a much diagonal version in the blending. So that's what I'm doing. Not going left to right, straight horizontal motion, but giving it a little bit of anger. Now when I come to the part where the blue and the yellow is, I'm going to go ahead and load my brush with a little bit of white. And this way I will be able to make the blending process a lot easier and make sure that my yellow and blue doesn't blend together to give me three. So by now, I'm pretty sure you know how this is done. I have full confidence in you that you have picked up a lot of little tips and tricks and the way in which I work. So I've got full faith and confidence in you. Alright, so right now, I'm just going to go ahead and blend all of them together. And you're going to be doing this until you're happy with the way your sky looks, right? So you'll you'll keep doing it right now. I feel like. The yellow and the orange bit look very flat. They look like they're going left to right, but the blue is going in that diagonal motion effects that I will just go ahead and start moving the colors in the diagonal manner itself. Right now, if you notice very carefully, I am not making flat blends. I'm using a thinner part of my brush and holding my brush in a way that I get these nice flat strokes, like, like I showed you in the earlier lessons are probably in my previous classes. I've showed you that brush movement in which sort of tilt your brush to get thin strokes using your flat brush. That is exactly what I'm doing right now. Trying to tilt my brush slightly so that I get those thinner strokes. And it acts as little streak or a hint of yellow in the red or a hint of white in the blue. So this way it's not a flat blend and there are these streaks of different colors that you are adding in. Right now I'm just working with the blending process. This sometimes especially when you're working for diagonal sort of blending or you're trying to achieve those streaky colors, like I was saying, when you're trying to achieve that, the blending process takes a little bit of time. And everything when it comes to gouache depends on blending, especially for the sky. So if you have a good blend in your sky or painting is going to turn out great. But if you don't get a good blend in your sky, sometimes you're painting might not turn out to be appealing to the eyes. Anyways, you're going to go back and forth, back and forth until you are happy with the way the sky looks over you. You'll watch me change things, add particular different colors, add white to mix them together, or just play around with the colors. Really. I would say that there is no right and wrong here until you get a good blend obviously. But there is no right and wrong in terms of which, in terms of what I'm trying to say is that there is no right in terms. I've said in terms of way too many times. What I'm trying to say here, let me clear my head. What I'm trying to say here is, you do not have to focus on a particular color being less or more, unless you are happy with the blend in your sky. Oh my God, got it. So there was this funny in this video. I'm sorry about that. I just sometimes get really drill into my own thoughts and forget words. Anyway, moving on, what I'm doing right now is switching to my round brush is going to give me these nice thin strokes. You can do the flat brushes while but I switched to a round brush, my size six round brush and just streaks that I was talking about. That's exactly what I'm doing. I'm trying to add in these tricks. So moving my brush in this slightly curvy diagonal motion, right? They're going to have white in where the blue and the light colors of the sky is. And as you come down to the deeper colors, have the yellow and the orange you'll be using the deeper color that is your red mixed with a little bit of yellow and white. Just to add in those streaks as you can see, I'm doing this while the paper is still wet. It's not completely dry. And because of this, I get a nice finished to the brush movement that I have. It's not too sharp because it's wet, it's slightly blends in with the sky and you cannot always use a little bit of water to even out the edges. But yeah, this is pretty much it. I like the way this guy looks. So what I'm gonna do is just let this section completely dry. Then we will move on to the other bits. Alright, so now that my base is completely dry, it's time for us to move on to the layer which we saw that has the trees in the background. Right? Now I don't want to work on the details of the trees, but I want to show that there is some base of a mountain on a hill in the background. Basically going to mix my black, my brown, and a little bit of white together to get warm and gray shade as you can see, it's not as cool as just your black and white. It has a little bit of warmth in it. Anyway, I'm going to go ahead with this shade and start making these vertical strokes for that uneven movement at the top. And I'm just using the same color to bring it all the way down to the horizon line. Now I'm going to make sure that I don't have to do all the way towards the left and the right because that entire section is going to cover it with a lot of pine trees that were on the either side of the reference picture, right? So you don't have to do it all the way to the extreme ends. You can just do it somewhat. In the middle of your painting. I've made those rough strokes and bought down this color all the way till the horizon line. I'm just adding a little more white into it to lighten the color and add the tip. I'm adding the same brushstrokes to sail, rough brushstrokes. Again, we're gonna be adding this just randomly at the top and just roughly bringing it down to the bottom. It doesn't have to be exact. I'm just roughly bringing it down as you can see, making sure that it's not a perfect blend. I'm just gonna go ahead and make this vertical strokes until I feel pretty much content with it. And after that, we're gonna do is just add in some darker bits to the same section. So how are you going to add these darker bits? These darker bits, by maybe adding a little bit of black to darken that color by just a little bit. So when you darken that color a little bit, you obviously get a darker shade of the same color. And then you can add and play with the textures and a little bit more. Now these areas are not fully visible, so it doesn't matter if it is not looking so great at the moment. Honestly, I'm happy with the way this looks. You're going to let this dry and then we'll do the next bit. Alright, now that this has tried, as you can see, there's a little bit of texture that's created. And now we're going to focus on the trees that were in the foreground. I'm going to mix my black and brown together and apply a nice thin consistency of it. You can also add a little bit of blue in it. Really we're just trying to mix our own colors rather than using black because that's just too flat. Anyway, using a smallest size of the brush, you are going to start making these tiny, tiny pine trees above the horizon line. Now your brushstrokes don't have to be perfect because these trees are at a distance, as you can see, my trees literally not perfect. I'm not working so much on the shape of it, trying to give it that exact pine tree look more. You don't have to that because these trees are at a distance and it doesn't matter if they look are really good in their shape or not, because the snow is what is going to give it the shape that you need. You're going to make a bunch of these trees. Don't go towards the extreme left and right. Again, you just need to focus on getting these trees to be in that area where that road needs the horizon line, at least that area needs to be complete. So go ahead and make a bunch of these pine trees. Remember to give them a variation in their height, obviously. And make sure that when you're making the pine tree, making one, let's say it's forward. The next one can be next to it, but slightly behind. So you will not be making the full tree as you can see, I'm just making half of the tree. And that's how you'll be able to add variation in, in terms of the distance. So some of them will appear closer and some of them will appear further away even though they are at a distance. Alright, so using a slightly lighter mix of the grade that we used earlier, I'm just adding a lot of white into that. As you can see, this will be the color of the snowed that I use. By using my same small-sized brush. I'm gonna go ahead and start adding these left and right strokes to my pine trees. Again, don't worry on making them look perfect because they're at a distance. Remember that some of the trees are gonna be closer, so you're gonna be seeing all the branches and some of them are going to be further away. So it'll be just there'll be the forward, so you'll be seeing the full tree. So just keep that variation in mind as to which stream needs to look. You want to put in the front and which three you want to put up with that. Either way, you'll be just making these brushstrokes. Oh sure, that did a lot of snow on these trees. Alright, so whenever you feel that maybe you did a lot of the white and you want to show the darker bits of the pine tree again, then you can go ahead with your black and just fix out anything that you want to change. Anyway. I just had a few connections to me and I'm really happy with the way the slopes are going to let this dry. And in the next lesson, we will be painting all the trees in the foreground. 27. Project 8 Part 2 : Skiing with a View: Alright, so now that my base layer has dried, everything at the top looks good. That is, go ahead and create the skin road. Now for that, I'm going to use a mix of our dark gray, light gray. And this time, instead of just having brown, black, and white, I've added a little bit of blue to give it that blue undertone that it needs for it to be a nice reflection of the colors of the sky as well. So I'm starting off with this deeper color at the bottom. And as I go up, I'm going to leave that space white for now. Because then we will be adding the lighter bits of patella, which means a lighter gray color or just fight. And then blend everything in the way in which I'm moving my brush. If you pay close attention, it's not straight. I'm giving it that nice curve so that it looks like a road moving towards that area. So keep that in mind. Don't make straight lines going upwards. Rather give it that nice little curve in your brush movement. Now you can go back and forth with the darker color and the lighter color depending on how you want it to look. Remember that the bottom most portion is going to be slightly darker and the top arrow is going. The bottom portion is going to be darker and the top area is going to be lighter. And you're just going to go ahead and even cover the left and right areas as well, roughly. As you can see, I'm not really adding a darker color in that area because we have a bunch of different trees. But I decided to just go ahead and cover up that space as well instead of leaving it blank. But right now, I'm really happy with the way everything looks once the trees are in place and we go over a second layer and a second coat over this. Everything turns out to be a lot better, but right now, everything looks great over the years. Let this dry and we'll move on to the next step. Alright, now that this has completely dried up, you're going to switch to your size six round brush or any bigger sized round brush. And you're going to take a mix of you're black and you're burnt umber together. So a nice deep color. You are going to start making the trees. Now. You can start off with the trees at the back and then bring out the cheese in the front. Why I'm saying that is because you're going to have a bunch of different trees at the back. And then there are probably two or three trees that are in the front and they are more in focus. And you'll be seeing a lot more details on that. So to achieve that, look, you'll have to start off with the trees that are in the background and then move forward again to not focus a lot on the structure of the tree. Because as I mentioned earlier, I want this to be a lot more simpler for you guys to achieve so that you understand how we're approaching a painting from a reference picture. And if it's simpler, it's fun as well. We've done a very difficult one in the previous project. I guess it was a little bit tricky to achieve. This one. I wanted it to be a lot more easier and fun to play around with. But at the same time, I want it to give you guys a really nice result. So as you can see, I've started off with the trees, taller trees. And then as I'm approaching towards the horizon line, the height is decreasing. And now I'm, since the height is decreasing, it gives us that nice illusion. These trees are further away and you're moving somewhere rather than it being of the same height. So whenever we are making a painting, you will have to play around with the size. And that is the only way in which you can add that effect in your painting. Look a lot more 3D. It, it'll get that look rather than looking really flat. If you also notice, I have changed the color here. I went for a deeper gray shade rather than it being just black. And I'm going to go ahead and just sort of cover the entire portion where the land is. So wherever I mean by the line, but I mean where the trees are the case, you're just going to go ahead and cover that entire section with this shade. Make sure that again, this shouldn't be really flat. I'm a straight line towards the horizon. It should be a slightly curved arc shape that we drew earlier. I'm going to repeat that instead of it being straight. What I've done is also sort of blended out the edges. I've just taken my brush with a little bit of water and just blend it out the sharp edges. And what we're going to do now is just let this layer dry. And then we'll go ahead and add a lot of snow. And details to this so that it looks a lot more like these are trees rather than it being just a block of different shades of gray. Anyway, we're going to repeat the process, make a bunch of different mixes on the side. But I mean by that is just going to repeat the color that you use, the dark color. And then you're going to start off by making some more trees on the left side. Now, similar to what you've done on the left, you'll be doing there on the right side. A little bit just directionally challenged here. The same type of phrase that the way to the left, you'll be repeating the same process on the right, adding a bunch of sheets. As you can see, I'm very free flowing with my brush over here, right? I am not forcing myself to make perfect strokes. I'm just making strokes that look like pine trees. I'm just covering up that area. So that's exactly what you're going to be doing as well, to focus on getting perfect strokes, but rather just let yourself lose. When you let yourself lose. Even though you're painting is probably not one of the most detail or spectacular painting. But when you let yourself looms, you realize that a lot of brush strokes that you make does not require very controlled strokes at this time. Honestly, when I'm looking at it, I feel like I have increased the speed of the video, but I haven't. I promise you this is all in real time. As you can see, I'm moving really fast with my brush. I'm trying to be as quick as possible, but really thinking if the final outcome is going to be great or not, or I have to make a perfect painting. Now I'm really not thinking about a lot of details right here. I'm just playing and having fun. Now that we're done with this little section, we're going to let this dry. Along with me having fun over here with this painting. I want you guys to enjoy as well. I don't want to give you a lot of inflammation over your, I really want you to enjoy the process of being swift and quick with your brush and just letting go. This is the art of letting go. Let go of the need for it to be perfect and just enjoy the process. Alright? Okay, now that there's two sections have completely dried, it's time for us to add the snow. So I've switched to my size zero round brush, which gives me really fine details. Using that brush, I'm going to start making a bunch of details for the trees. So starting off with, let's say the leftmost section is one whole tree. I'm going to bring it to the bottom. And then behind that we have a bunch of different trees as well. So going to go ahead and just add snow in different, different section. Eventually they all sort of merge into one another. And you not be seeing a lot of details in them unless you are really trying to look for making, I'm trying to look for them to be individual trees. So you don't have to really focus so much. And just add these little one, make a line and then just add a bunch of different strokes around it for it to appear as a pine tree. I hope I'm making sense because honestly over here, I'm just enjoying and doing whatever comes in my mind. Just thinking about the process in the moment, right? I'm not really thinking about who is this brushstroke going to give me the exact look of a tree or is it looking like a tree or not? And that is, it resists. This is where I wanted this to be a fun moment where you're not thinking so much. Looking at the reference picture and you're just enjoying the process of painting. Alright, so as you can see, I've just gone ahead and added a lot of these strokes in different, different sections. So they look like these pine trees in the background. In front of this, you're going to have a few more trees. So that is going to be the main focus of the left side. So really, you don't have to focus so much on this little section to make it look perfect. Because then once you have those two other trees, a lot of this area gets hidden. So that is one thing to keep in mind. And right now, just go ahead and add these shapes everywhere and cover this entire section with the snot. So this is a very time-consuming process. So I'm just going to leave you to it to enjoy making these brushstrokes along with some music. My approach for painting the trees on the right side, we're most likely to give that illusion that obviously you're only able to see one side of the string. You're not seeing the whole tree. You can achieve that by just painting sort of half of the view. So as you can see, I'm starting off and just going towards the left. I'm not making the strokes on the right side. Right. And I started with the most further away section. And as I come forward towards the light of the paper, I am leaving a little bit of space. Now, if you, if you really pay attention, this does look like there are a bunch of different trees in that area and they're only able to see one part of it. Leaving that section empty. I went ahead and started with the rightmost part, again, just moving from this little portion where the masking tape this and moving it towards the left, just to give the illusion that we're seeing a part of the tree, one side of the tree and you're not able to see the whole tree, obviously, because the remaining of the tree is facing to the other side, which we are not using from our painting, right? So that's how you get that illusion into your painting. And I'm really liking this approach as well, in which you only paint one side of the tree. Now, the my brush movements are very louis as you can see, very swift, very loose, not thinking it through and just showing one section or one part of it and covering that area. Now, there will be a lot of trees in the foreground again. So this few sections will be blocked out, but that's okay. You're just going to cover all the bits that you see right now. Anyway, I'm really happy with the way this looks at the moment. So you're going to let this dry. And in the next lesson we will be painting our foreground trees again and adding further details to it. 28. Project 8 Part 3 : Skiing with a View: Alright, welcome to the final part of our class project. You're going to go ahead and load your size six brush. This brush works out for me because it gives me thin strokes and thick strokes. But obviously pick up the brush that works for you. Now, loading my brush with the mix of our black and brown paint, a burnt umber paint, you're going to be making a bunch of trees in the eight and that's closer r, that is towards the outside of that area. This time you're going to slightly work on the shape of the tree, right? Probably try making this a little bit detail, not so detailed. But obviously we're not going to let ourselves completely lose like we had had earlier, just trying to sort of work on the shape over here. Now you're going to have a bunch of these trees moving towards the horizon line. Now, these trees, how will you show the variation in these trees? You will show the variation in these trees by decreasing the size of it as we move towards the horizon. Right now, this one is a very, very tall tree as we can tell. But as we move towards the horizon line, the size of it is going to decrease. Along with these trees, I will make a bunch of different shapes. Some twigs, some branches at the bottom just to give it a little bit of variation, rather than just being about all about trees. So I want to just play around with that as well. So you can just go ahead and add them wherever you feel like it. You can look at the reference picture as well to sort of understand the placement of them. Alright, so now that we're done with our first tree, I'm going to go ahead and move on to country. As you can see, it is slightly smaller than the one that is on the left. Now the one thing that I'm gonna do first is to sketch out all the trunks, or that is make all the chunks using my brush. And then go ahead and add in all the details. I'm going to have maybe three or four trees on the left side and then have more on the right side. This process is going to take a little bit of time, so I'm just going to let you enjoy this bit with some music. Alright, now that I'm done adding the cheese on the left side, and I'm really happy with the way this looks right now. You're going to go ahead and add some trees on the right side as well. Now for the trees on the right side, I don't want a lot of trees like you can see on the left. I want maybe one or two trees. So repeating the same process. Instead of making one full tree, I want one section to just have a few branches. So again, you can play around with different variations. I wanted one section to have branches and maybe how one full tree. So I'm gonna go ahead and do that. It's the same process, but we're repeating it on the right side as well. Alright, so I'm really happy with the way this looks like now as you can see the doubt, the snow, it looks too flat, right? So the snow is where the magic of our painting lies. So once this layer has completely dried, only then you'll move on to the process of adding yard. Alright? Now that this section has completely dried out, you're going to go ahead and load up your grid paint. Make sure that it's not too great. It should be just a slight hint of gray. Then you're going to load your brush with paint and start making the snow. Focusing on where your leaves out. Make sure to make some in the middle as well so that it doesn't look too flat with the leaves and the details only on the left and the right side. I'm pretty sure by now you're all pros at making pine trees and snow on them. And this is where the art of painting a particular subject again and again helps you. When you paint pine trees with snow in different styles, PAT change the composition of your painting or just have a similar composition, but two different skies. You known a lot about blending and about painting trees and adding snow on them. And I think we've done a pretty good amount of these trees. And with full confidence, I can say that you might be a lot more confident at painting these trees and adding snow as you were in the beginning or enough first-class project, right? So as you paint, you really learn so much about a particular subject. Anyway, you're going to go ahead and add the snow and all your trees. So I'm just going to let you enjoy the process. There is not much to explain. You can watch the way in which I'm doing it. It's pretty loose, very light handedly, I'm doing the entire process. I, like I said in the beginning as well, this project was all about relaxing and letting loose, enjoying the process of everything that we have learned until now. Right now that we are done adding the snow on our pine trees, we're going to go ahead and just walk on the skin root. So what I've done now is just sort of added wide at the base as well so that it looks like it has melted and merge into one another. I'm just going to load my brush with white. And we're just going to add in some more highlights and shadows in our area. So we'll start off with white and using the dry brush technique, I'm just going to add in some texture around that Asia at the base. Then I'll move on to a darker color because I feel like she's too white. There's not a lot of shadow play happening. So to fix that shadow play, I am going to load up a little bit of the deeper gray color that we mixed. As you can tell, there is a bit of blue in it. So that's why the color looks bluish and I'm adding that in with my flat brush and then with my round brush, I'm sort of blending that area out with one another. So when you do this while the paint is still wet, you have the opportunity to blend it with one another without having very sharp streaks and edges. What I've done here is just taken my damp brush and I'm blending out the edge with one another so that it doesn't have that sharp edge. And it does look like it's a part of one painting rather than different layers over one another and it shouldn't look so flat. Alright? So one more thing that I've done is just not kept it straight flat. You know what I mean? That it's not like one line of white entries over it. I've just added some random strokes. I would say that it looks like the snow has fallen in that area and accumulated in that era. So it has an uneven shape around the tree meets that land. Alright, so I'm really actually enjoying, I've really enjoyed the process and really like how this has turned out for now. I just feel like the snow part of the painting is to gray. So I'll try and build layers over it so that that snow bit shines out a little bit more because I feel like it's too flat and it doesn't really show the difference between the trees and the front of the trees that are in the back. Obviously you can see, you can tell a difference, but it's still not that evidence. So once this layer dries out, we'll go ahead and just add in a little bit more couple of snow strokes at the top. Alright, so this layer has completely dried out. Now. I'm just gonna go ahead and add in some extra details wherever necessary. So this is basically your point at which you decide what are the things you need to fix and what are the things that you need to add? Like I said, I wanted to add in some snow bit. And I also felt like the base still looked like two different layers and they were not merging into one another just the way that I wanted. So when the head with a damp brush and reactivated that area and just got the darker color and the white part of the snowed sort of blend into one another. One more thing that I'm going to focus on is adding the snow bit at the top. Again, just to show a little bit more highlight. Using just white, you're going to go ahead and just repeat the strokes that we see. Remember to not cover all of the white or gray area with white color. Don't do that. Just add a few strokes to show highlights in your trees. You're just going to do it at some places, not all over the layer that you have already applied. So don't do that to it in some places to add in highlights into your painting. Obviously, you can play around with the highlights. You can play around with how much you want to highlight in your painting. I just want it to do a little bit so that it shines enough and gets a little bit more upbeat because I felt like it tried out a little bit dull. And this is what happens when you're painting with white gouache. Sometimes white gouache, it can be difficult for you to actually make. The white gouache is usually really opaque. And if you're not using titanium white, then sometimes you'll have to work in multiple layers even with titanium white. Whenever I have to do a really, really opaque layer, I have to go and like at least two layers or three to make it nice and opaque so that you're not seeing the previous layer and obviously go with a thick consistency of paint. So this is what happens when you're painting with whitewash. And if you're not using titanium white, then you might have to do a couple of more. But that's okay. We can work in different layers and make our painting turn out a lot more beautiful with that nice opaque white that we need. Alright, so right now, while all that I did was just add in a couple of more highlights in my painting. And just see wherever the shape of the tree if you want to fix or some snow that you want to add. This is really the moment where you fix things and just see what you feel in the moment can be connected or added. That's completely on you. And once you're done with that, you're going to let this layer completely dry and you're done with your painting. Once I layer is completely dry, I'm going to go ahead and peel the tip of make sure that you're peeling it away from the paper because there are chances that you might take your painting if you don't do that. So just be careful in the process. And like, I'm pretty sure, you know by now that the billing process is really my favorite because you get to see the painting without the paint all over on the edges and with a nice clean border, painting really pops out and I feel like it looks so much prettier. And yeah, this is pretty much it. Actually. I am so happy with the way this painting turned out. Though. It involved very simple brushstrokes and movements and elements. But even then the painting looks very beautiful. I feel like the colors are popping, the gray and the white is really nice. So yeah, this is pretty much it. If you painted along with me, don't forget to upload your class projects. I would love to see them. This is it for the ETE. See you in the ninth class projects. 29. Project 9 Part 1 : Frosted Branches: Hello there everyone. Welcome to Project nine, which is of this beautiful frosted branches, the shades in the background, as you can see, a very different from the ones that we have done in the previous class project. When asked, the color palette remains the same. So we using the same six colors, we have cadmium yellow, primary red, Prussian blue, burnt umber, titanium white, and lamp black. So let us quickly get started. I've taped down my paper on all four sides and taken the colors out on my palette as discussed earlier. So initially I wasn't really thinking of adding a little bit of blue, but I did end up taking a little bit of blue on my palette. The first thing that we are going to do is start off with our basic sketch. So here's a reference picture that you can download as well from the Project and Resources section. And we'll be able to do that if you're signing up through your laptop. Moving on. Here we have the base sketch. We have a horizon line. Right above the horizon line. As you can see, there are two sets of details, right? So there is one set of, let's say, a forest eta, which is even further away, slightly in front of it, we have another set of trees. And it is darker because it is closer to the observer. And in the foreground we got two trees with this view, the full frosted branches. So as you can see, it appears a lot more gray than just being normal or dark brown or black shade, right? So we're going to try and achieve that nice frosted branches in this painting. So that's going to be the major goal. For today. You're going to roughly sketch out the placement of these trees now they don't have to be exact. You're just going to roughly put it there because when you make the background, it's going to get covered. So it doesn't really make a difference if you're really going for a nice sketch or not. So don't worry about making your sketch look perfect. Just have all your elements in place. And once you're happy with how the sketch looks, you are going to stop right there and start painting. The first thing that we are going to paint is the sky, right? So we're going to start off from the era right above the horizon line. Now, I'm pretty sure by now, you've got full hang of how things work around here. How you're supposed to approach your reference picture higher supposed to start a painting. Anyway. The first thing that we are going to do is create the mix of that orange color that we see. They can use orange directly or use a mix of cadmium yellow and primary red. And we'll get this beautiful, almost a yellow, orange shade. It's not too orange as you can see. It's nice and light and vibrant. So that is going to be the base color right above that. I want it to have a little bit of just the yellow color. It's a pale yellow color. Like I made that makes using my cadmium yellow and white. And I'm just going to load my flat brush with it and start blending it into the orange. Now these colors, they all lie in the same shade. Range, are the same family. And that is why blending them is a lot easier and I don't have to worry about getting any muddy colors. If you look very closely at the reference picture, we have a shade in the sky, which is almost like a pink, but also a little bit of a corporate, right? But it's more of a pink magenta shade, but it's really light. So I'm just going to mix different colors and see how it works into my orange mix. I ended up adding a little bit of blue and pink, red in it, and obviously white to lighten it. And I was able to achieve this color. Now color mixing is really an art of its own. It takes some time to really understand how to work with shades and how to mix them using a very basic colors that are available in our palette. For this guy, I just went with blue, a little bit of that yellow, orange color that we had, and white obviously to get them lighter tonal value of it. Now, why did I do that? Why did I not take pink directly? That's a good question. And that is because I want the colors that I use in my sky to be a byproduct of the colors that I'm mixing that are available in the sky already. So let's say we have orange and yellow. I would want to add a hint of that into my pink that I'm making are the purple that I'm making. And that's why I ended up with this shade in the sky. So right now I'm just using water to blend everything and to blend the purple and the yellow color. I used white very similar to what you would do when you are blending yellow and blue together because they are still complimentary colors and they are away from each other. So they might make. Oh, that muddy shade in the middle. So to avoid that, we used white to blend them together. Alright, now that the sky is completely dry, we are going to go ahead and start working on the area above the horizon line. Now I want to make a gray shade, again using the similar colors in my palette rather than going for a new shape. That is, let's say picking up gray color as I'm mixing a little bit of black, the red color, and blue color along with white. That the gray is not just a mix of black and white, but rather has the colors of the sky that we've used. So you've got red and blue, a mix of that in the sky right at the top. Using that colors, you can nicely make agree by just varying the amount of black you add in it and the white that you add in it. I've got this nice light gray color with hints of blue and red in them. And I'm going to start off by making these vertical strokes for the tree section of the forest section that is at a distance so they are lighter. So you don't really have to go for a dark gray shade. You have to go for a lighter color. And you don't have to also spread it across towards the left direction. You don't somewhere where you want to mark that the forest area that's in front covers it. You can just stop right there and just cover the entire section until the horizon line. So as you can see, it's nice and flat. So you can take a little bit of a darker color and just add in some variations as well if you'd like. Or you can just leave it flat like this. I feel like it looks too flat. So I could have just added a lighter tonal value of it to sort of bring some areas to appear lighter. Anyway, now we're going to go ahead and paint the area that is in front of that forest section. This time the color is going to be.com. So as you can see in the reference picture as well, it appears darker, which means you have a lot more black pigment in your mix. Into the same mix, you're just going to add a little bit more black in it. It'll give you a nice dark gray color. Again, using these vertical strokes, you are going to cover that area. Now, these vertical strokes that you make will be slightly different than our previous stroke. Because this is closes, you're going to be seeing a lot more details. One more thing that you can do to really bring variation into this area is number one, vary the size and the height of these strokes that you make. So don't make all of them in a similar up-and-down manner. Make some of them really tall, some of them shorter as compared to their previous strokes. And this way you'll be able to add variations. Second thing that you're going to do here is really between a dark gray and a light gray. It's not a completely light gray. But agree that is just one tonal value, lighter than the darker gray that you're using. And you're going to be doing that with your same brush. You don't really have to clean your brush or why paid or anything of that sort. You just need to lift your brush while it's wet, you're going to add lighter gray. And while it's wet, you're going to add in the darker gray. And this will ensure that these two colors merge into one another and they will not have those sharp edges. One more thing that I'm doing as you can pay attention is I'm not bringing that area lad down like we did earlier. We just spread it across almost like using a flat brush. But over here, I'm still making those vertical strokes and sort of having a little bit of that zigzag motion in place so that that area doesn't look just flat. It looks like there are a bunch of different trees in that area and it has a little bit of variation. Basically. These are the simple ways in which you can sort of add textures and play around with values and make an object appear to be 3D. It will look like there is a variation in darker trees and lighter shades rather than just being flat. And like I mentioned, donors feeling like the left, rightmost section was a little too flat. So I went ahead with some darker grays and just add in some more cheese in that area. So as you can see now, it's like one free flowing section of different trees with within the gray shade range. Alright, so I'm really happy with the way this is looking right now. I just went ahead and added some more lighter gray wherever I felt it could use. But yeah, I am overall happy with how this section has turned out. Now I'm switching to my flat brush and we are going to work on the snow on the land. So going to vary between very light, light color. So here I have just two white on my brush. Maybe it has a little bit of hint of pink and blue is if you've used earlier, but I haven't purely mixed any shade in it yet. Then I am going ahead with the darker gray, adding it in the area where the tree was and just other areas above the ground level, I would say where the main tree is, sort of behind it or below the horizon line. I've added a little more Greek that this shows that that area has a little bit of foliage and a little bit of shadow is being caused in that area. So to make the foreground or the bottom layer not appear so flat, you'd be adding grain little sections so that it appears to have a little bit of movement and the ground seems to have snow with a little bit of shadow in it and you just don't have to make it flat. So I'm pretty sure by now, you guys are pros at playing around with your reference picture and playing around with the shadows in the snow. I have full confidence in you guys. I think after the sixth or seventh class project, I just I just know that you guys are going to ace whatever painting we are doing in this challenge together. Alright, so I'm really happy with the way this flux right now. So you're going to let it dry. And once it's dry, you're going to start painting the tree. So going to be switching to a smaller size brush, I am searching to a size six round brush, making a mix of black and brown together so that it's not flat black. Remember that you're not using black directly into your painting, but rather making a depot dark color offer shade that is very closer to black. So using this shade, I'm going to be making the tree. Now if you're not very confident enough about the tree, then you can sketch it out again right now with full details. Wherever you want the main branch to be, where you want those are the sort of the branches to be. This way you'll have a good idea about the trunk and how the tree is turning and in which direction it's going. All of that. And after that, all these little branches and the frost-free frosted branches that we're supposed to me that can just be free flowing and in whatever direction. So right now as you can see, a tree really is not a straight tree, right? It's got curves and grooves and it's got different branches coming from two different directions. So you can look at the reference picture for understanding the shape of the tree and to understand how the tree is curving out and where are these bigger branches coming out from, from our main trunk. So whenever you look at a reference picture, that's how you're going to analyze the shape of the tree. And based on that, obviously you will be tweaking a lot of things while you're making your tree because you're not really replicating the exact story in that exact perfect manner. Surface, trying to understand how it is and then put it into your painting. Over here, you'll be either looking at the reference picture or do it exactly how I am. I did look at the reference picture that gave me the idea of two trees being in that area. And then after that, I just went around and played with the shape of the tree. So if I felt like the tree was just too empty, then added some more branches of my own wherever I felt like it. One thing to keep in mind about these branches are that they will be coming out and moving in the same direction in which the tree is moving and in the same direction. And then it will be moving in that direction rather than moving in the opposite direction, right? So the tree is moving upward and slanting at 30 degrees than yard sub branches coming out of it will be just sort of left and right direction, but they will be still moving upwards, right? That is the only thing that you have to keep in mind. Now, if your brush is not giving you very fine details, then you can switch to a smaller size brush for all the smaller branches that you will add in your tree. One more thing that you have to keep in mind is that you'll have to merge the tree with the snow. And if you didn't guess it, then you know now that you're supposed to merge the tree and I'm pretty sure you know how you do it. You're just going to use a damp brush, wet that area, cleaner brush of tasks too much of the black or the darker color, and then just blend it out with the ground. This way the tweets doesn't look too flat sitting there on top of your gray color. But now it looks like it's a part of the land and it is just emerging from the ground. That's exactly the look that we're going for. Right now. I'm switching to a size zero round brush because I need a lot more finer details and my painting and a lot more finer branches. So I'm just going to switch to that shade and using this color, I'm going to go ahead and add in all the tiny, tiny branches. And I'm not really looking at the reference picture at this time. I'm just going to go ahead and she leaves these branches sort of in the same direction in which my tree is flowing. So really just go back and do your own thing. If you feel like that's the right thing for you, or just play around and add these branches. Your tree does not have to look exactly like my tree. And in that way, you're painting is going to be very unique to you. Even though you've learned from this tutorial, that is by me. So even when you're doing that, you end up making something so unique because you have not exactly replicated that. When you do that, you really learn a lot about painting landscapes, because the way I view things might not be the same way in which you do it. So this is where everything changes for us, everything becomes different and unique in our own way. So I'm just going to let you add in these branches, take your time, slow and just enjoy the process. Alright, so really like how this has turned out. So what I'm gonna do is let this dry. And in the next lesson we will be painting on a fast and branches and adding the final details together. 30. Project 9 Part 2 : Frosted Branches: Alright, you guys, Let us start adding all frosted branches on a tree so we can start off with this gray color. Again, it's a mixed off the similar shades of our sky with black and white. As you can see, this is still a deeper shade of gray because I want to make those branches first, then add in more highlights using an even lighter color. So I'm going to start off with this gray shade. And you will start making these different branches coming out from your main branches that you've already made. Now this is going to be a very time-consuming process and a rapid theta one. So there isn't really much to explain here. So I could have just produced straight through this entire process in a sped-up version. But I don't want to do that. And I actually want you guys to take your own sweet time and just watch the actual time it takes to really make these little tiny branches. Now they can be very therapeutic as well. Because the art of repeating something again and again puts you in the sense of the subconscious mind. I would say not subconscious, that would be just pushing it a lot. But you get into the strands where you're just making these shapes, but your mind is just really calm. It is almost feels like you're not in the moment, but you're doing all the work? I do. I think of doing a very bad job at explaining what I'm trying to say. But it's just the art of doing this type of data of thing again and again, which has a very, very common calming effect on your mind. I think it's pretty great. And the class project was really easy to pay it. I mean, from the previous ones that we have done, there were a couple of ones that were slightly difficult and had a lot of steps, but this one is fairly easy, right? You've got a tree, you're just adding frosted branches on it. And it's just repetitive process again and again and again. I think this is really great for learning the blends in the sky and also a good practice for a winter landscapes. So what I'm gonna do now is quiet. Let you enjoy this process of adding the branches in real time. So I've not sped up the video at all. It's all real time videos. And just add in your branches with this gray color. And when we are adding highlights, I'll guide you through the remaining step. But right now you're just going to make your tree appeal for love using these tiny, tiny branches. Alright, so we're done with our base color. Now, what I'm gonna do is just adding more white into my mix and start making some more branches. You can also overlying the ones that are already there. And this is going to act as highlights. So right now, it might not appear like it's making a lot of difference. But once this color dries to dry out, to be slightly lighter and the null show up even more. It looks like the shade difference between them is really less. But it will show up once it's dry because it's going to dry out lighter. So we're just gonna go ahead and make a few of these strokes. Now we're not going to cover the entire section because these are highlights. So it's just going to highlight some sections are right now. We don't have a son in focus or a main light source and focus. So you can just go ahead and cover almost the entire tree in all directions with these lighter strokes. I really like how it looks right now as you can see, we've added a lot of variation in a frosty branches. Now we're gonna go ahead and add in some texture to the tree because the trunk looks very flat. So using the dry brush stroke, you're going to go ahead and add in the texture. Let's say it's just frost on the trunk as well. So using this, it really, as you can see, has made the trunk pop out even more and you're gonna go ahead and cover some of the branches as well. That it doesn't look like it's just flat on the trunk itself. I will take a little bit of the white paint and then adding it at the base and blending it with the ground as well so that it looks like there are some accumulated snow in that area. Alright, I really like how this looks right now. There are certain things that I would like to change here. But other than that, the composition looks amazing. I love how we were able to achieve all the textures that we needed. So what I'm gonna do now is using that darker color that we used for the tree. I'm going to go ahead and release out some grass and twigs and the base. Just to add in some more details on the land part because it looks a little flat. I'm just lightly going to add in the small vertical strokes in different directions. They're very randomly placed. There is really not a lot of thought involved. I'm just trying to add in different elements on the ground so that it doesn't look so flat. Right? Before we added these, they look really flat curves. It looked like just the tree where the main focus and we've got no other plant elements. So change that. I've added some light brushstrokes. You can also keep your brush to be slightly dry to add in some textures, in some places, get those broken effects. So really just trying to play around with all the techniques that we've learned in all your paintings. It's always a combination of different techniques that we've learned in the beginning. And then you just apply them to achieve what you see in your reference picture. So when you look at a reference picture, you just think about, okay, this is done this way. I can achieve the textures on the trunk. In this way. I can achieve the texture on the sky in this way. So it's all about using the techniques that we've learned and trying to apply them. Now as you can see here, I'm using the dry brush techniques sort of add texture at the back because there aren't a lot of details, but there's a little bit of texture on the ground, so you can achieve that by just using the dry brush method. Anyway, I really like how this looks right now. So I'm going to stop here and then take a step back and really see what are the things that we can change about it or fix. Right now I feel like it could use a little more of the whiter highlights. So this time I'm going with just white alone with not really a lot of black pigment and just white alone. Adding in some more highlights in my painting. As you can see, it's not all over the place. It's just in areas which I felt a little bit dull and could use a little bit of the highlights and the vibrancy of it. So I'm just going to go ahead and do that. If you feel like you need it to add some more branches and you can go ahead and do that as well. So really, this is the judgment that you will be making while painting based on your outcome. So you will see what are the things you like if there's something, some, some texture that's missing or some other shape of the tree you want to change and add in some more branches to fix that. Go ahead and do that. So really just take your call, look at it, make the judgment see what looks off. Or if you're happy with it, then you can completely skip this step. It's not necessarily, this is just me trying to add in some final strokes and details to really put my painting altogether. As you can see, adding in that extra white highlights is making my tree pop up even more and really show the effect that I was going for and that is the frosted branches, the ice, ice to be on the branches. I really like how we've captured that painting in this very simple format, right? It's, it's, it wasn't that complicated. Anyway, once you're done with that, you're just going to peel the tape off and just look at this clean edges and higher painting is looking so beautiful, put together, right? I loved the color of the sky and how we were able to achieve those shades, but just mixing the shades in our palette, just the basic colors that we've been using for all our class projects. So I think the blending and the color mixing was really great deal here. Anyway, this is it for this project. I'll see you in the next one. That is our last and final class project. 31. Project 10 Part 1 : Road Trip in Winters: Hello everyone, Welcome to your last and final class project of the challenge. In this project, we've tried to get in the elements such as snow, the snow fall alongside the road and the beautiful trees with no leaves on them. So the colors that we're using a very simple way using just burnt umber, titanium white lamp black and a little bit of cadmium yellow for the lines on the road. And that is it. So let us get started. I've taped on my paper on all four sides and taken the colors out on my palette as discussed, I just have white and black and burnt umber on my palette for now. I'll take a little bit of yellow when I'm making those lines. So the first thing that we are going to do is create the sketch. As you can see, this sort of like a horizon line in the background, which is not very clear. But the road comes in from that. So it's very narrow at the top because we're trying to show that distance right? So it's like at a distance the road turns towards the left. And then we have two sides of the road. One on the left which comes in this very which is of this letter C, I would say but a lot more crunched like that. Like someone tried to pass it from the top and bottom and obviously facing the other direction. And the other one is more like an S-shape again in the other direction, but a little bit crunched in size. You're going to place that are from somewhere in the middle of your paper and then have the roads moving on either side. Now though, the endpoint of this road is going to get covered with all the trees and the foliage that we have in the foreground. Not going to be really seeing where the Rhode Island store or what the direction is. We're just going to see that it turns towards the left side. Now you can sort of change the shapes. Sometimes if you feel like your sketch is not turning out so well. So just keep that in mind that you're looking at the reference picture on the left and creating the sketch. Now in the foreground, there is a little bit of partition or the snowfall that's there. And behind that we have the trees. So I've just made that line so that I remember to make that little partition to show different colors in the snow. And we've got a bunch of different trees now they're all over the place. The trees that you will be sketching out are the ones in the foreground majorly with the darker trunk. Everything that you see as gray in the background. We'll capture that by just adding gray details and rough brushstrokes in that atrium, right? I've also went ahead and sketched out the horizon line just to make it a little bit easier for understanding. I'm not sketching out the trees in detail because it's gonna get cupboard. I just want to know the placements of these elements. Another thing that I am okay with the sketch, write this all gets scoured and there'll be a lot of details that we will be adding in. So this is for sure going to get covered because just keep this reference picture with you. I have uploaded it in the project and resources section. So I can keep this picture with you to understand how I'm approaching this reference image. And then you can learn from that as well so that when you have to go ahead and do ones from your reference images, it's easier for you to approach them. So that's all fun and games here. This is the last final class project, or remember that we are going to have a lot of fun painting this final piece. Alright, so now that we are done with our sketch, we're going to start off by painting the background first. So if you look very closely in the background, we see a lot of inquiry of foliage, of the trees. It's not very clear because it's in the background, right? And it's very rough. It's almost, it's out-of-focus. You're not seeing a lot of details in that area. So to capture that, we're going to make this light gray shade with is just a mix of black and white here. I'm going to just roughly apply it everywhere. It can also be a sort of thin consistency of paint. It doesn't have to be really thick. Now over here, I'm going to apply that wet on wet technique where my base layer, which is this light gray, is going to act as too wet surface. And on top of this, when I add in another color, since that layer is wet, it is going to help me create that blurred out effect with a lot more ease, just like we do in watercolors. If you guys are familiar with the medium, you know exactly what I'm talking about? When you do this wet on wet technique, since the surface is wet, you end up making these images to be blurred out. So it works out really well when you want to achieve that sort of look in your painting using a very thin consistency of paint. I've gone ahead and applied it all over. The area above the horizon line and switching to my long round brushes, they just need a round brush because you're going to make a lot of different brushstrokes here. And using that brush, I'm going to just tap in these brush strokes. As you can see, they're very randomly placed because a lot of this is going to get covered eventually with all the trees in details in our foreground. So I want to create the effect that these are the trees in the background which has lot of like let's say mist in the air. And because of that, it's not that clearance at a distance. Security that look by just randomly placing these brushstrokes. As you can see, the consistency of paint is not that thick, it's quite thin, almost like watercolors. And then I'm just going to go ahead and apply this when the paint is still wet. So you're not waiting for your background layer to dry here. While you do it, you can see this is bloat out effect right at the top. You can see it's just more just with the previous layer without creating any sharp or harsh lines. When this dries, it will dry out together as one single layer. And it would not look like we would in two different separate sections are layers. I really like how this looks right now. This artwork really goes through phases where it starts to look a little bit funky in between. But this is all the process of creating art, right? There will be a time in your painting process where you feel like your art work is not really what you are going for. But trust me guys, you have to finish it once you finish your painting. That's when it all comes together and starts to make a lot more sense. Alright, so we are done with our top layer first, as you can see, once it has dried, it truly looks like one single blend. Now what we're going to do is focus on the road. So we're going to paint in our roads before we go ahead and paint in trees along the sides. And I'm doing that because we've got the trees that will come over the road. So it makes more sense to finish the road first than to do it later on. I'm going to go ahead with this dark mix of color. It's just black and white together, so it's a dark gray color. And over you're, in this project, we're really working with a lot of different shades of gray. And we can achieve these different shades of gray by just altering the amount of black and white that you have in your palette. You can also add in a little bit of brown whenever you want your grade to be slightly warmer. So you can do that as well. But right now we're just mixing black and white together. I haven't touched my brown and I'm going to go ahead and cover the bottom portion with the darker gray. And loading my brush with little bit of white, I'm going to start making the brushstrokes at the top. Now I'm doing this because I want to add a variation in the shades of the road where it turns into the left side, into the horizon. It appears lighter to the observer. And since the road part that is at the bottom is going to appear closer to us. Appear it's closer to us, so it is darker, shade. This might take a little bit of time for you to get that perfect blend, but keep going, keep blending and adding white if you think the white is more, or if the black is more overpowering. But add black if you think the white is too much like I felt like it got really light. So I added black at the base to just add in the darker color back into my painting. My brush movement is going to be in the way the road moves, right? So since it's going from both sides, it comes towards the center. I'm going to make the brushstrokes that, in that exact manner. And as it turns, the road turns, I'm also making sure that I move my brush in the same way so that it is really in line with my sketch. And it shouldn't look awkward that my, my road is moving in a particular way and my brushstrokes are in Adobe. So to avoid that, you make sure that you are making these brushstrokes really in the same way that your road is moving. Anyway. I really like how this is looking right now. So you're going to let this dry. And once it's dry, you are going to go ahead and start adding the whites of your snow first. I'm just going to take a little bit of white paint and start applying it all over the section, which is a white. Make sure that you're not making a straight line and that horizon, you're just sort of making it slightly up and down just to add textures and variations in the way the snow has fallen in that area. Again, it's going to get covered, but still just go ahead and lightly add that in. Now, why am I adding white? That is because I want a base color first for my slope. Then on top of that, I will go ahead and add graze wherever it's needed and just adding the variations. Right now I just want to fill this section with the color before we go ahead and add in any more details in that area. So the consistency of my white paint is not really thick. It's just a very nice thin consistency because I just wanted to fill in that area with this color first, like I said, not going to really use a lot of white paint. You just need a thin consistency of paint to sort of just in the colors in its place. Alright, so really like how this looks right now, we have really covered the area where the snow meets the road. That was the main point of this as well, to make that blend in these two shades to be together and properly placed. This is it for now. In the next lesson, we will be adding more details in a middle ground. 32. Project 10 Part 2 : Road Trip in Winters: Alright, now let us go ahead and add in the trees that we are seeing that are in the middle ground section. So we're going to be waiting between different layers for the tree so that we have a darker gray that are in the front and the black that is in the front, and the darker gray in the middle, and obviously a lighter gray in the background. Right now I'm mixing my black and white together. I'm adding a little bit of brown in it just to bring in a little bit of warmth. Here is a shade that I'm using. As you can see, it is darker than our previous layer and that is exactly what we need. Now you can sketch these trees out with your pencil first before you go ahead and make them, if you're not comfortable. But really these details are not going to matter so much because you're going to add in a little bit of foliage section over it. And it's all just randomly placed. But if you are still not confident about it, then it's not a problem because you can sketch it out. No one's going to question you about it. I promise. It's all about doing things that are easier for you and for your understanding. I might do it this way. You don't have to do it this way. You can sketch it out and do it in a way that's more comfortable to you. One thing that you're going to keep in mind over here is to pay attention on the ways of making the trees. The trees that are closer to the road is smaller. This brings in the illusion that the set of trees are still even further away. And as you move towards the left and right side, as you can see, I've slightly increase the size. So this way it adds that, that effect that we are standing really in this. Wherever we are standing, these trees are very further away at a distance, right? I haven't added a lot of branches and details to that because these are still in the background. And I'm going to go ahead and load my brush. This is a really sparse point brush, right? So all the bristles are spread apart, but it works really well for adding textures and these rough strokes. But if you don't have a spoiled to price, then I can just use your round brush itself to add them this texture. They don't have to be perfect. And you can see that they're very loosely placed. I'm just tapping it in randomly and filling in that entire section. Like I mentioned earlier, they'd be a lot of trees that are in front of this entire section. So these details will be mostly hidden. So we're just trying to get in place and get it all the different foliage colors in place. And as we go we'll be adding more layers on top of it. So we're going to be using your brush to add in the textures. Now, I'm using very thin consistency of paint. I'm not really going for a thick consistency. So just use a milky consistency of paint to add in the textures and they are very loosely placed. So you're going to fill all the trees with the foliage is to show that these are a set of leaves or branches that are further away. There are a lot of details and you can't really tell what the details are. Now if you look at the reference picture, you'll see what I'm talking about. There's a lot of stuff happening in that area. It has a lot of different gray tonal values and we're just trying to easily place those tonal values and our painting. Alright, so really like the way this looks right now. Once you're done adding the foliage section, we're going to go ahead and switch back to our round brush and make sure that the the trunk as nicely blended with the snow layer. Using my damp brush, I'm just going to try and reactivate the base and just blend it into the ground so that it doesn't look so flat. Just sitting there on top. With this layer, it should be nicely blended into the ground, right? So we've done this in the plot in the passage is repeating the techniques to achieve different or reference images and paint different paintings using very similar combination of techniques. Alright, I really like the way this looks right now. So you're going to let this dry completely, and then we're going to move on to the next step. All right, Now, this is very nicely dried, as you can see, dried out a little bit lighter than the color actually looked. And now what do you want to do is just take your pencil and sketch the line of the road again using your pencil. So I'm going to go ahead and just draw the lines as I see them in my reference image. Remember that they will be thicker and broader at the base. And as you move towards the The center of our painting, it is going to become thin because we want to show that there's a variation in the size and the road and to bring in all the distance and perspectives. Anyways, you're going to go ahead with this mixture of yellow and white. As you can see, it's a nice yellow, but it's not too yellow. That's why adding white really helps. And using a round brush you are just going to paint this entire section in. And since you have a sketch for this, it's going to be very easy. One thing I would suggest here is to be very nice and slow because we are trying to fill in the lines. Over here. You're trying to follow a sketch. The more gentle and the more control your brush movement is, the better your stroke is going to look. Obviously. Now, I always say that when you try to control something, you might end up the brush pens and that's when you're going for a much more natural look on your trees and mountain details or whatever. But for here you have to be slightly control of your brush p.sit nice and slow. Take your time. And then you're going to let this layer dry. Why I'm saying this is because this layer is not completely opaque as you can see. And if I tried to go back and forth a lot, it will reactivate the gray. We're just going to let this layer dry. And once it's completely dried up, you're going to go ahead and layer it again. So as you can see now, this has dried. It dried out to be a lot more yellow than what I initially placed. But we're gonna go ahead and just layer the entire section once again using the same method. And this time when it dries the road or the line on the road is going to be very nice and big. So you wouldn't be able to see the road through your brush stroke. Alright, so really like the way this looks right now, what you're going to do is let this dry and then we are going to go ahead and start sketching out all the trees that are in this area, again in the snow area, again on either sides of the road. So what I'm gonna do is take my pencil again. Now over here, I want to show the partition where the snow is. I want to show that the snow is at a height. So that is what I'm sketching. That's the height of the snow that's fallen. And behind that, there are a bunch of different trees. Again, I'm just trying to look at the reference image and roughly placed these trees. I'm not focusing more on the trees that are exactly in front of us. So I'm focusing more on the trees that are sort of in-between, this slightly deeper gray but behind a main gray, black, dark deep color trees. Alright, now that I'm done with the trees in the left eye will move on to the right, again showing the partition, which is going to show that this is the height of the snoRNAs in that area. And then I'm going to place the trace again. Now, these trees are very randomly placed, keeping in mind that the left ones are going to be smaller in height as compared to the ones on the left and the right side to the ones which are closer to the center of the road is going to be smaller in height. Now that we're done with our sketch, I really liked the way the trees have been pleased. I'm going to make a mix of brown and black together. Now, I'm blending it on the mix that there was gray already, which will pick up the hint of the the white in it. So I'm not specifically adding white in the paint. But this does bring in a little bit of difference when the paint is completely dry. So using this color and my round brush, I'm gonna go ahead and start sketching out the trees in a similar manner that I did earlier. Now over here, I will release a few branches, but not a lot because again, we'll be adding our foliage using our spoiled brush. Going to go ahead and just loosely and light handedly make a bunch of branches on your trees. Now over here we're not focusing on blending it with the ground because we are waiting to finish everything. And then we will use a damp brush to blend it with the ground. So right now what you're gonna do is just go ahead and paint all your trees that you sketched out. Alright, so really like the way the trees are looking right now. So what I'm gonna do is clean my brush and get rid of anything that might be on it. And then using a damp brush, I'm just going to reactivate the base. Keep in mind that whenever you feel like you are loading up a lot of gray, then you clean your brush and just use water to blend it out with the crown. This will also add a little bit of the shadow effect in the snow that we need to do. So instead of adding it specifically as shadows, we just use the base of our trees to add in textures in our snow. So you're just going to reactivate the paint at the base and just sort of a blend everything out to add in textures. Now, if you feel like the lines are too harsh, then you can go ahead and just use a damp brush, cleaner, damp brush to blend everything with the base color. Now we're going to go ahead and switch to our spoilt brush and make a dark, dark gray mix. Now this is very deep, rich in gray color, right? It's not black. So it did pick up some of the gray at the base and it's mixed and merge into one another. And I really like the way this looks. It's not as deep because we still have a bunch of trees to add in the foreground. And this works perfectly well for that. We're going to load this and again create a bunch of foliage on top of the cheese. Now, you are going to just go ahead and randomly place them. These are not in any particular order. You're just trying to make a tree appear fuller. Now, if you have taken my previous class, which was of this autumn landscapes, correct? They were autumn landscapes is completely forgot what I was talking about. There's one of those autumn landscapes. If you did take that class, which was the one plus the class previous to this, I think that class had a similar type of tree making structures. So if you are interested in actually painting these trees instead of being monochrome, if you'd like to paint them in colors, then you can watch that class as well. It includes very, very similar methods of adding foliage in your tree. So if you like this one, then you can watch that as well. And if you liked that one, then I'm pretty sure you found this one so much easier to do because you're already familiar with the tapping technique that we used. So right now I'm really happy the way we have covered our foliage. As you can see, all the grades that were before this have been slightly covered. But that is exactly how we wanted it to be, to just have that misty effect in the background. But let us not be flat. You do need to add in a little bit of details to really show what is the, the, the image that you're going for right? Now I'm switching to my dry brush technique just to sort of add a little bit of texture on my tree. Load your brush with a little bit of white and just brush it over your trunks. And this way you will have this nice textured effect on the cheese. You can also use some of this white paint to blend out your snow if you think they have not. Turned out really well. I really like the way this looks right now, so I'm going to let this dry. And in the next lesson we will be painting all our other details into our painting. 33. Project 10 Part 3 : Road Trip in Winters: Alright, so we are at the last part of our painting process, which is adding the trees in the foreground and all our final finer details. So you're going to go ahead and make a mix of brown and black. This time we're going to use the darker shade because these trees are in the foreground. So you're gonna be seeing a lot more details and a lot more color and depth. Alright, so making this deep, deep shade, as you can tell on the camera, you really can't tell the difference between the two sheets that are laid out. But in person, I promise you this one's a lot more darker than the one that you saw before. Now using that you're going to make a bunch of these tall trees that will reach almost the end of your paper. We're going to make it all the way till the top. As you can see, my trees are not straight. They are not just moving straight upwards. There is a slight bend in the, their movements. Either they are slightly towards the left or slightly towards the right. But they do move in a little wobbly way. They're not straight up. And once you're done with that, you're going to release a bunch of these branches out of it. Now you're just going to place the branches wherever you'd like. I'm trying to not pressurize you into doing it in a particular way. This slide, it looks different as compared to a reference picture. But really at this point, I wanted to add my own hint to it. So you can go ahead and change it up also if you'd like, do it in a way that you want to do it That's completely on you. I encourage this type of behavior because I would love to see you do it in your own way, applying the techniques that we have learned in this class. So the idea is really to learn the techniques and known how to do it. And then obviously once you figured that out, it's always fun to do things yourself. So anyway, we're gonna go ahead and add in branches wherever we'd like them to be. I really like the way these branches look. Obviously there are a lot of more details to add and it really looks different once you have the snow and all those other details at the top. So now that I'm done with the trees on the left, I'm going to switch to the trees on the right. Again, sort of making this similar kind of trees, really nice, really thick trees moving in different directions and adding branches on them. So it's just a repetition of what we've done on the left side. On the right side. Alright, so really like the way this is turning out, I just have to add in some more branches on the right side using my size six brush. If you think your brush is too thick for this, then you can switch to a smaller size brush to add an extra details. I know what you're gonna do now is let this section completely dry and then we'll add in some more details. Alright, now that my painting has completely dried up, we're going to go ahead and add in some more trees. This time not reaching all the way at the top, but slightly making some smaller ones at that curve, please, because I felt like that could use a few trees in that area. And then I'm going to go ahead and add in some more branches and some more details. I felt like that center portion looked really empty in terms of the foreground details. So when the head and add in some more trees and some more branches, really just making the judgment, making the call. While painting. If there is something that you want to change or if there's something that you want to add, if it doesn't look good, you fix it. So really just, you know, you're always, constantly thinking about ways in which you can change things or fix things if you don't like the way it's turning out. Now we're going to go ahead and switch to a mix of brown and white together to get this skin tone color, you can add in a little bit of black in it because it was just too almost like skin color and like that. And I wanted a lot more monochrome colors. So when the head with a little bit of black in it and using the dry brush technique, I went ahead and added texture on our painting. So whenever you see a burnt umber, usually with white, makes it very skin color. I think a lot of portrait artists use them. So I really just didn't strike me that that will be the color it would make. But yeah, so whenever you are making colors and mixing colors, you're really just experimenting, right? You're constantly, probably you'll end up making five different shades that you don't like unless you find something that you do. That's all about playing with colors and really working around in different sections and seeing what works for you. Anyway. So using that lighter color, I've gone ahead and added a little bit off. Show on my paint tankers, These trees in the foreground, they have a lot more details. So adding in that details really ensures that your treatise look just flat right there, but it has a little bit of texture on it and it looks really good. Another half done. This deeper, darker shade. I went ahead with white and added in some more texture and the base, not all the way up, but mostly where the snow is. Just sort of around that era of added that extra haven't gone all the way up. If you'd like, you can go all the way up in some of them. I don't want to go all the way up and all of them. So I just went ahead on like one or two trees, but mostly at the base, I added that whiter shade of white. Alright, now is the time for us to really add in our final details for our cheese. So I'm going to go ahead and switch to my size zero round brush and using a mix of my burnt umber and black paint, I'm gonna go ahead and start adding some more branches and fill up the spaces where I felt it looked a little bit empty and could use some more branch play, just more details. So I'm just gonna go ahead and use my smallest size brush to add in the details. Now, if you think your painting looks good here, you don't have to repeat the step. You can skip this step. It's completely optional. But I felt like I could use a little more branches and details on my trees because I felt like there was too much trunk and very little branches in the painting. I've just gone ahead and added some more branches coming out from the top, coming out from my tree, really just filling up the space and going with what I felt, what feels right in the moment. If I like, maybe adding in some more branches would make me feel good and also be good for the painting. So just gone ahead and done that. So you can do this if you'd like, or you can skip this if you don't want it. Alright, so really like the way this is looking right now. So I'm gonna go ahead and switch to my white paint because I wanted to outline that area where the snow is a little bit more just to show variation where the height of the snow is, using the brush are really sort of going over, I would say the trunks that you've already made, this ensures that you really make it. Show that that that portion of the trunk is in the snow and you can't really see a lot of it. So this is one way in which you can sort of cover your trunks and snow instead of blending it with the land as well. Over here we have some thick amount of snow. And that is why I went ahead with this method. I'm just adding in a little bit of gray in my paint and blending it out. Because this way it ensures that I add in a little bit of shadows in the snow as well in certain places. Right? Now the next thing that I am going to do is add in some more branches because I feel like that's the right thing to do. Some more finer details before I move ahead to sort of blending the road out a little bit and adding in some darker bits to the road. Alright, so now what I'm gonna do is switch to my round brush, which is my size zero round brush, and using a darker gray color, I've just added a little bit of the shade at the corner. And then using my brush, I'm just going to blend it out so that it looks like the snow and the land of sort of merged. And they have a little bit of shadows. And also it looks like one single layer rather than looking really flat. And I also had those two droplets on my road which I felt, I mean, they were bothering me since the time when I saw them. Since the beginning of the lesson when after we've painted the snow bit the ground with anyway. So moving on, I went ahead and added texture on the, on the road using the dry brush stroke with a little bit of a lighter gray color. Again, keep in mind that you are moving these brush strokes in the same manner, where in the same way that the road turns basically. So now that we have all our textures and details in, we're going to do our last and final bit, which is my favorite bit. When, whenever it comes to spattering paint, I'm so excited and happy about it. I'm going to load my round brush, bigger sized round brush first with some white paint and I'm going to tap it against another brush. Tapping against another brush. You can either tap it against your finger or some other pencil or anything, but you're really tapping it against something to create these plateaus. Now remember that the thicker your paint consistency is going to be, the more finer your splatters are going to be. If you use a thick consistency of paint, your splatters are gonna be really small. So we don't want that. We need them to be slightly Rogers. I'm using a nice and thin consistency of paint and then using my brush, I'm just gonna go ahead and make this bigger blobs. And this, I want to show that these snow, the snow particles are closer to the observer so he's able to see them in a lot bigger, in a bigger size as compared to the ones that are smaller right in the background. This way, you can really add variation in your snow that you put down. So when you add in small details, that is the snow that's further away, then you can just go ahead and add and make n bigger details for the snow using your brush. And I'll just makes you feel like you are in the snow. Wireless snow is falling. So I think it's very good and fun detail and I'm so glad we took the book time to really capture one of these types of paintings. Because I felt like this is the only one which is missing in our winter painting. And I had to had to include it just so that we could paint this pretty simple monochromatic painting together. Very final details, right? There weren't a lot of complicated details. I feel like the brushstrokes are very simple and very similar to the ones that we have done in our previous class projects. So I hope you enjoyed painting these snow splatters with me. Once your painting is completely dry, you're going to do is clean the tip of from your painting. And once you do that, that's when the painting really starts popping. So now that we have clear edges, can you see how beautiful your painting looks? That's no, looks so beautiful usually really feel like you are in this moment while the snowfall is happening and probably you're driving to some place crossing a forest, which has snow on either side of it. So this was our tenth and final class project from our ten days of gouache challenge, inspired by winter season. 34. Thank You for Watching: And this is it. You guys. We've reached the end of the class. Thank you so much for joining me in this ten days, of course, challenge inspired by the winter season. If you've watched the class up to here, that means you have ten gorgeous landscapes with you painted in your sketch books are on your loose papers. I hope you enjoyed painting these landscapes where we covered a little bit of everything such as legs, pine trees with snow frosted branches and so much more. If you've painted along with me, then do upload your projects under the projects and resources section of this class. I would love to see your paintings and give my feedback on them. And if you liked this class, then do leave a little review down for me because that's really motivates me to make more classes and come out with things that you love to watch and learn from. If you liked this class. And I'm pretty sure you'll like a few of my other classes that I have. I have about 13 classes in total on Skillshare. So you can head to my profile and join other challenges or watch a few of my other classes. And lastly, if you want more inspiration on landscape paintings with gouache and acrylics and watercolors. Then you can follow me on my Instagram by the handle, the simply aesthetic. I'm constantly sharing all my paintings. This is it. I will see you in the next class and I hope you enjoyed this one. Thank you so much.