15 Days Gouache Challenge : Paint 15 Expressive Landscapes using Gouache

1. Welcome to the Class: Nature has been my source of inspiration ever since I started painting. Every time I traveled to a new, please watch the seasons go by, or even come across a beautiful landscape online. I'm filled with excitement to capture it on paper. There's beauty in all the different shapes, structures, and color combinations. And I learned so much from it every single time. Hello everyone. My name is I'm an artist and an art educator based in Bahrain, originally from India. If a new year and don't know much about me, you can check out my Instagram at this simply aesthetic. I'm constantly sharing all the artworks that I'm working on a little about my day to day life. And if I have any workshops, I post about that on there as well. Apart from painting for myself, I teach students online and offline through my Skillshare classes and one-on-one lessons. You will find more details about this on my Instagram in this class, I would like to welcome you all for a brand new gouache challenge, where we're painting 15 coaches, landscapes together that are inspired by nature. Each class project is super unique and you will be learning so much about different color mixes and compositions will be achieving all that using just a few basic colors. Idea behind these are challenges is to help you develop a daily painting habit. Because it's not only going to help you relax to your busy day, but also you'd be learning so much along the way. Don't worry if you're new to the medium because we'll be discussing all the basics that you need to know before dive in into the class project, we'll start off by knowing the right type of art supplies that you need to take while painting with quash. Followed by a few gouache techniques that will help you understand the medium vector. Also do a little exercise where we'd get familiar with a flat and round brush strokes. And we'll be using these brushstrokes in a variety of different ways in our class project. After we're done with the basics, we will dive right into the first-class project, which is live. After that every alternate day I will be uploading a class project. In this class, everything is explained in real time and each project takes only about 30 to 40 min to finish. And you have enough time to finish the class project before the next one goes live. By the end of this class, you're going to have 15 gorgeous landscapes that you can show off to your friends and family and be so proud of because you're gonna be so happy with the results. So if this is something that you find interesting, then join me in the class and I will see you in the next lesson. 2. Class Overview: Awesome, I'm so excited you decided to join me in this class. Now, before we move ahead, there are few things that I would like to tell you. First, let's let go of the fear of making mistakes. It's okay to make mistakes and start over because we're here to learn something new and have fun along the way. Second, if you'd like to approach the class project in a different shade, Let's say you want to change the color of the flowers, colors of the sky, colors of the mountains. It's okay. I want you to take the creative liberty in changing things here as well. I would love to see your class projects as you go. So please do upload them each time you finish your class project because I would love to see it. And I'm pretty sure once you see it all on the wall, you'll also see a lot of different people upload the class project. That's going to be our little community under that section. Now, I'm not going to take a lot of your time 3. What is Gouache?: Walsh has the goodness of both extra legs and watercolors. Many people refer to gouache is an opaque watercolor. Let me give you a quick overview of what gouache is. Gouache is an opaque medium made up of a combination of natural or synthetic pigment. What the gum arabic. It is a meeting between watercolors and acrylics, combining a goodness of both of them. It has the larynx. These are vectorial eggs where you can lay a lighter color over a darker color and reversibility of watercolors where you can reactivate the paint once it's dry. Wash is a water-based medium and added more water will make quash lose its opacity. That makes quash a very versatile medium because it can be used in various different consistency. You can use a thick consistency to get a more acrylic look and more oil finish. And you can also add a lot of water into the medium to get the nice light washes of watercolor. You may find gouache in the market in many different forms. It comes in tubes, jars, and even these cute jelly tabs. Either way, all of these gouache is going to give you the same result. The only thing that you have to keep in mind that is to use fresh paint to achieve the welded matte finish. It is important that you use freshly squeezed because if you're going to reactivate the paint, quash may lose its opacity, the beautiful matte finish that it's famous for. The opaqueness and gouache comes from the white pigment or chalk that is added along with the pigment and binder. When you're painting with gouache to get the lighter tone of a color. Instead of adding water, like watercolors, we add white. I will talk more about this in the techniques lesson. Things about washes, how it dries so quickly, which means it has very less drying time. I don't need to wait for a longer period of time between the layers and I can complete an entire painting in one setting. Another thing that I absolutely love about squash is how it gets to this beautiful velvet matte finish. And it does not reflect any light once it's dry. This is why a lot of artists who do illustrations prefer this over acrylics, as it's very easy to make prints out of them. One thing that really attracted me to this medium was how you could easily cover up your mistakes. If you don't like how your painting is turning out, you can read that the paint moves them around and even cover up and start over. And in this class, over the course of 30 days, we're going to explore the beauty of the medium together. Not that we know a little bit about the medium. Let's discuss all the art supplies that you need to know to get started for the class 4. Materials You'll Need: Alright, so let's talk about all the art supplies that we need to gather before moving into our class. Now, the first thing that we're going to talk about is the paper. For the paper, I'm using a watercolor paper now you don't have to use a watercolor paper. You can use a mixed media paper as well. But I like this one is from the brand Fabriano. It's 100% cotton, cold pressed and 300 GSM. You could use any paper which is about 262300. It works well. And this paper specifically has a very nice texture as well. And I'll be dividing it in four halves and cutting them into smaller sizes. From an almost A3 size, I'm going to have four different little art pieces, about A5, I would say, but I think they're a little bit smaller than a five. And we'll be using these smaller sizes for our class projects, but feel free to use the size that you want. And I've also cut little swatch cards out of these as well. So whenever I'm making a painting, I will be swatching the shade that I'm mixing. You can have this with you just so that you can refer to all the shapes that we're mixing later on. Alright, so that's it about the paper. Now the next thing that we have to talk about is the paints. I am using my all-time favorite gouache paints, that is the Winsor and Newton ones. If you're following my journey for a while, you know how much I love Winsor and Newton gouache paints. They are wonderful, they're creamy and they're beautifully mat and they're not chalky at all. So I love using this. You can use any gouache paints that you have with you. It will work perfectly fine as well. I will talk more about the exact shades before starting each class projects, so don't worry about that. I'll talk about all the colors in that part. Now, the next thing is brushes. I am going to try and use only two brushes for this for all the projects. It's gonna be an attempt because I liked the size four brush. It comes to a really fine tip and it's a size four and the flat brushes size ten. I'll try and use just these two, but whenever I feel like I should have another one, even for finer details, I'll use a size one liner brush wherever necessary. But I'll just stick to using these two itself. The other two are these brushes that I have. You can see how the bristles are all over the place and they've lost their shape. And we can use these for creating beautiful textures on our trees. And I'll show you all about that in the upcoming lesson, we'll discuss how we can use asphalt brush in that part. Now that we've covered paints, brushes, and paper, let's talk about the other things. We have a palette. I'm using ceramic mixing palette here. I like the feel of the ceramic plates I'm using that you can use any plate or palette that you want for mixing your paint. Next, we have two jars of water. It's very important to have two jars of water because one you're going to use for rinsing your brush. And the other one is going to be for clean supply of water. So as you can see, one of it is dirty and the other one is clean. So make sure that you have two jars of water with you. Now, other than that you need to show. So you can use Cloud, you can use tissues for wiping the extra paint and water just to dry it off in case keep that handy or close to you. Next, I have this board on which I'll be sticking my papers so that it has this flat surface to rest on and I'm not sticking it directly to the table. So you can use this or you can use the backside of any of your watercolor blocks as well. Next, obviously to stick the paper, we need tape. So here's a masking tape. I think this is 1 " a quarter inch masking tape. I'm not really sure about this size, but I like this tape doesn't tear off. My paper, works really well. So this is the tape I'm going to use. Lastly, we need to keep our basic stationary, that is our pencils scale and an eraser for all our sketching beds, such as the horizon line to where the trees are and what our basic composition is going to be. These are all the art supplies that you need, get them. And in the next lesson, we will be discussing a few Bosch techniques. 5. Techniques & Tricks: Alright, so let us talk about a few wash techniques that are going to help us understand the medium better and we'll be using them in our class projects. We are going to explore consistency blending and layering techniques using gouache. On my palette, I have white, Prussian blue, and lemon yellow. So we'll be using these three colors to do a few little technique exercises. The first thing that we're going to talk about is consistency. Now consistency is the ratio between water and the pigment. I'm using a dry brush here, it has no water. And if I take my dry brush, mix it with the paint, which is a freshly squeezed paint. You can see how the paint is like this creamy consistency. It almost feels like melted or not melted, like soft butter. So if I were to use this consistency, the paint is going to be really thick. And if I brush really hard, it will create an opaque one. But if I brush lightly, it would give me a dry brush stroke. Now I'm going to add a little bit of water and see what the consistency of the paint feels like. Just adding a little bit of water first. And as you can see, the blend, it makes the blend a little bit more smoother. So it isn't as thick as it was before, but it's still towards the thicker side, I would say, as compared to the different consistencies that we tend to use. This is still towards the thicker side. And I know that this is really thick because you can see how the color is really dark, right? The Prussian blue seems like black on the swatch. Now I've added a little bit more water on my paint mix. As you can see it, it's got a little bit lighter. And if I create a swatch using this, now you'll be able to see the blue coming through, right? So as I increase the quantity of water for gouache, the color is going to become lighter and it's going to start behaving more like watercolors. So these two middle swatches that I've made feel more like milk or tea. That's the consistency. And as I've added a little bit more water, this becomes very close to a watery consistency like we used for watercolors. So the amount of water that I add in my paint makes the, makes the consistency become a lot tunnel and it starts to behave like watercolors. I know this because the last swatch that I've made here shows the paper, right? You can see the paper through. And that is how adding water changes the consistency. Last one behaves more like watercolor, and the first one is more like an acrylic consistency. Now as we know that adding water makes the color lighter. So what do we do when we want to lighten a color? In this part, you add white so you maintain that consistency of the paint. So let's say I'm going for a milky consistency. I will try and maintain the consistency, but I will be adding white into the paint. Now, the lighter you want your color to be, the more white you will have to add in it. Now, obviously it changes the color completely, right? It's not the same Prussian blue color, but it's still a lighter version of the Prussian blue color, correct. So the lighter you want the color to be, the more white you will add in your paint. So you can create various shades by just tweaking the amount of the blue and the white color. Here. I haven't added that many swatches, but you can create n with swatches and play around with the different quantities of blue and white. So these are the two things that we have to focus majorly on when we are talking about consistency. So the second one being that you add white into your paint when you want to make lighter colors. Now this will be for all the shapes. It doesn't have to be just blue. For whatever colors you use, you will add white if you want it to be slightly more opaque or have that sort of lighter color. And for the consistency, we try and maintain our consistencies to the middle, to swatches, which is the tea and milk type consistency. We do use the picker one for adding more details on the top layer. So the middle one is for the background layer. The top one is going to be for any layers, like the final, final layer, so it will not be at the bottom. I'll tell you more about it in the layering techniques. But yeah, this is all about consistency. Now the next thing that we have to do as blending, I've divided my paper in three different sections. So the first type of blending that I want to talk to you about is the gradient wash. Now the gradient wash basically means that you are gradually going to decrease the intensity of the color. Starting off with a darker shade, Let's say I want a darker blue at the top. I'll start off with that dark blue. And I'll bring it down by making it lighter and shade. So here I'm going for that. The milk type of consistency which is not too thin but not too thick as well. I'm going with that consistency Adding the blue at the top. So I've almost added, added it to the one-third of the area. And now I'm going to add a little bit of white in my paint and apply it at that spot where the darker blue ended. Because we want to make that blend come in. And as you go lighter, you will repeat that same step. So you want to ensure that you are covering that line up properly first so that you have blended that out and it doesn't show up as harsh lines when it dries. That is how the blending process really box. At the bottom, I just added white. I'm going to let the blending process do the work for making that white not to be slightly lighter blue. Now the trick here is to go in this left to right motion. Either you go upwards or you can bring the color downwards as well. But we want to ensure that we are moving in this to and fro motion and we're not going all over the place because we want that nice even blend. Another thing that you can do is rinse your brush completely and you can dry it off on your tissue and just use your clean brush to go over the blend again so that it ensures that you have that full fat gradient wash where you can see that I have the lighter colors at the base and add the darker one at the top. This is gradually moving towards the dark or gradually coming towards the lighter. You can also lighten it up. So this really happens when you are painting and you'll have to look at it and make the judgment. Sometimes you might feel, oh wait, this is too dark as compared to what I wanted. Or it's too light as compared to what I want to still have to make the judgment, take the call and just add the dark or light depending on that. This was a gradient wash. Now the next thing that we have to learn is how to blend two complementing colors with one another using the same kind of blending technique. But will be blending it slightly differently because we know that blue and our yellow together, it's good to make green. But specifically for the sky, we know that we don't see in green and our sky right? In those places, we will have to blend in a way that the yellow and blue merge together, but there is no green visible in our blend. So for that, what we do is I'm going to start off with the blue on the top. So maintaining the consistency, applying the blue on the top, bringing it slightly downwards. And I'm just going to stop here because I want to blend the yellow. So I'm just going to stop there to my yellow. I've just added a little bit of water and I'm going to add it at the bottom and leave like almost a finger distance between the two shades. Width of your finger, not the whole length of your finger, the width of your finger, distance between the two. And then I'm going to load up or white and I'm going to blend the white first with the yellow. Okay, then I'm going to rinse my brush. I'm just going to rinse my brush. And after I rinse my brush, I am going to load up some white. Again, applied in the middle and move it words the blue. So now we will be moving the white into the blue and blending it in. Sometimes you might see that there is a harsh line. This generally happens with our staining colors because they tend to stain, stain your paper immediately and it does not move that easily. In that situation, all you have to do is just layered a similar color over it and just go over that area a couple of times to just ensure that that line is not visible. That much they'll just have to tweak between the amount of white and ensure that the blend is pretty much even in that era and it does not show a line. Right now you can see that the line is still visible, right? I'm able to see a line in the blend and it clearly shows where the yellow is and where the amine, the yellow is still blended out, but the blue is not. In that situation that I'm just going to load up some white and added there and just move the yellow upward slightly and move the white upwards again to lighten the blue as well. I'm going to rinse my brush again, dry it, and then I'm going to apply the white a little bit in the middle again and just blend it. So all you have to do is keep going in this up and down motions with the brush. Ensure that you are cleaning your brush each time you move towards the blue or the yellow. Because if you load up hello and go to the blue, you will get that green shade. So you have to make sure that you are drying your brush completely. Rinsing your brush completely when you are moving in this blend. So as you can see in this blend, we've got a nice seamless wash from the yellow to the blue. If at all you come across a section where you have blue and yellow, all you have to do is load up some white and let the white do the job of blending the two colors together. But right now we've got this even gradation of yellow moving to the darker blue, with white being a section in which you blend these two colors together. Alright, so the next type of brand that I want to show you in this little section is probably one of my favorite types of plans when it comes to painting these far-off mountains or even grasslands and substance duration. And we will be using this type of blend in our class project. Or this is different from the other two blends that I showed you is because we're not going with that left and right motion, but rather the blend is going to be all over the place in. We're just going to try and merge two colors together. And we will be making green in some situations, but that's completely okay. I want to just get you familiarized with this type of plant. So it's very similar to the wet-on-wet technique, but we're not wetting the surface but letting the veins directly merge into one another. As you can see how I laid out blue when I lay yellow right next to it, and white even right next to it, it's just more merging into the blue or the yellow or the white. They kind of just mixing into one another, right? And that happens because the paint is wet. Now, even the watch has a completely different medium from extra legs and watercolors. It does have similar properties. So wherever there is water, the paint is going to flow on a wet surface even. So you can see how the yellow is sort of merging with the blue, sort of merging with the white. We're getting greens, we're getting even lighter shades of blue. We're getting lighter shades of green, getting a different yellow. And that's completely okay. So when you're painting these far-off mountains and you want to show the trees and that on that mountain or different gradients and lights and shadows in the mountains. You can easily achieve that by making the whole thing in that same layer. So all the lights and the shadows will be made in that same layer. So as you can see how we've got darker blue, even lighter blue. We've got yellow and we've got a little bit of green, so they're all just merging into one another. And once they dry, look really beautiful, evenly spread out and it's just in one layer. But you can still capture the depth in your mountain using this type of blend. I really liked this plan for that exact purpose, but these are the three blends that we will be using in our class projects we might be doing the second blend with maybe 234 colors, but the idea behind all the blends will remain the same. Now, the next thing that I want to talk about is the layering technique. Now, layering, as the name suggests, is applying a layer over the previous layer. Now, this is very similar to acrylics, but it's still slightly different because in acrylics, base layer dries and when you apply a layer over it, you don't have to worry about reactivating the base layer. But since gouache is easily reactivated by water, or you can reactivate the paint using water. You have to ensure that you are working with the right type of consistency. So I'm just going to show you how that works in the first block that I'm making here, I'm using a very thick consistency of paint. I'm using very little water in this section and using my yellow paint, I'm just going to make a little square. And you can also see how because the layers are because the paint is very thick, I'm getting this rough strokes right? I'm only able to make this nice and opaque by going over the surface a couple of times. And that gives me this nice even layer. Now while this is drying, we're also going to go ahead and create our second block, which will be in our almost tea or milk like consistency. It is nice and flowing. The consistency is nice and loose, but it's still not as loose as watercolors or how loose it would be to make it more transparent. It's still pretty opaque, right? I'm making the consistency of the paint lighter but still not so light that it looks like watercolors. And you can still clearly see a difference between the two yellow blocks. The first one is more opaque and the second one is a lot more lighter. But it's still pretty opaque. So I'm just going to let these two blocks dry. And then I'll show you how you can layer over these and what difference it makes. Alright, so now that these two blocks are completely dried up, I'm going to take my size four round brush and we're going to move to my blues blue shade. And I'm going to go for a consistency which is not too light. I have not added a lot of water into the paint, but it's still not very thick. When I apply a stroke with my brush, you can clearly see how the blue looks. Green, right? It's showing the background layer. If I were to go for something a lot more blue, and if I applied this, I'm easily reactivating the base layer and it's becoming completely green. It's not the color that I want. Now. I have to go for a really thick consistency of paint to ensure that I get this nice blue color that the Prussian blue actually is. So you can see how if I were to apply lighter layer over the darker layer or the thicker layer, it will easily reactivate the paint. But over here, I am applying the same consistency as the lighter green in the first block. But over here, you can see how the blue is still retaining the color and it's not getting lighter. You can clearly see it's Prussian blue over the light or the thinner consistency. So whenever you're painting with gouache, we want to ensure that the base layer is of a lighter consistency as compared to the layer that you add over it. Now you can add glazes using gouache as well. So whenever you want to show, Let's see reflections of the water and things like that where you want very thin consistency. You can still use a very, very water-like consistency or watercolor type consistency and glaze over it, but it is still completely different to the strokes in the first block because I'm going for a thin consistency and that is why it looks lighter. But in the first block, I was going for the same blue consistent of blue color, but it got lighter because of the pin consistency. Alright, so here's all the techniques that we learned, that it's consistency, blending and layering technique for consistency, we learned that when we add water in our paint, it becomes thinner. Lighter starts behaving like watercolors. But if you want to make lighter colors and guage, we add white. So whenever you want a light shade of blue, a light shade of Prussian blue, and things like that, you add white. The next thing we learned is blending. We learn to create a graded wash with single color, blending between two colors and blending two shades into one another while they are still wet. So you can see how it creates that referred look, right? And it dries nice and even and math works perfectly for your mountains. I will show you how to use that in our class projects. Next thing we learned is the layering. We learned that when we want to layer, we want to ensure that the base layer is of a thinner consistency as compared to the consistency that you add overdid. That is very important. Forget all the things that we did in the layering section here. That is the only tip that you have to keep in mind, and that is the base layer. The background layer is going to be of a thinner consistency as compared to the layer that you add over it. That's the only tip that you have to keep in mind for layering. This is it about the gouache techniques? In the next lesson, we will be learning a little bit about our brushes 6. Understanding Different Brush Strokes: Alright, so before we dive into our class projects, I wanted to give you a quick run through your brushes. So as I mentioned earlier for this class, I'm going to be only trying to use these two brushes. That is my size ten flat brush and my size four round brush. I might use a combination of these spoilt brushes for textures, but I'm going to try and use these two brushes because they're very versatile. Altogether that size four brush is literally my favorite brush and it's not even like a inexpensive brand or anything. I found it in my local store. And it works perfectly for branches, for my stems, for my leaves, all the foliage in the background, all of it. I'm able to create such beautiful strokes with just this one brush because it comes to this fine tip. So very light pressure ensures that I get these unifying details, especially for the branches instance. If I apply more pressure, I'll get these beautiful spread out effects and a thicker brush stroke. I feel like that brush works out really well for me. If you don't have a brush that comes to a fine tip, don't worry, you can use a combination of different brushes as well. So here I've used my round brush for the clouds, have used my round brush for the tree as well. But for all the leaf details that you can see, I've used a spoiled, spoiled brush for the texture. And then I went ahead and added some more details around it with my round brush. So as you can see, we are going to be doing so many things with just this particular round brush, which comes to a really fine tip. Again, if you don't have this brush, don't worry, you can use any other brush as well. You don't have to use one single brush. So here's my flat brush. This is the size ten flat brush. I will be using this for all the blends in my backgrounds, especially for the skies. So it works out perfectly. The size, size actually works out perfectly for all the blends for 2.3 colors. But for a bigger blend or where I want a gradual gradient between a single color, I would suggest using a bigger size brush because this will ensure that you get a beautiful gradient in your sky or whatever background your painting. But if you don't have a bigger size brush, don't worry, you can use your size ten or size 12 flat brush as well. So let us dive into the brushstrokes. Here I have my size ten flat brush. I'll just show you all the brushstrokes at by size ten flat brush first. And what I'm gonna do is dip my brush in water, load up a little bit of paint and add in some water into that. We're going for that P like consistency. It's not too thick and it's not too thin. So make sure that you are maintaining the consistency of your paint. And if I use my brush with the flattest side, you can see how I'm using the thicker part of my flat brush and applying maximum pressure on my brush, I get the strokes. This is the thickest stroke that I can make with my size ten flood brush. Now, if I were to twist it, alright, Bring the thinner side of my flat brush up. And it's almost like using the brush sideways. I get this stroke with maximum pressure. So this is the stroke that I can make. Another way in which you can make a brush stroke is using your brush pen the color to the paper. And this will ensure that you get the thinnest brush strokes because you're just going to be using the tip of your flat brush. This is the brushstroke that you get when you use it perpendicular to the paper. You can combine these brushstrokes as well, so you can go from flat and twist it while you're dragging your brush to get a thin stroke and then twist it back to get a thick brush strokes. So there are a lot of things that you can do. You can also use your brush diagonally. We're using the pig side, but bring it to the thinner side as you twist your brush. So just do this a couple of times. You will really understand how to move your brush because that's very important. Even if you're making flat washes, It's important to have that kind of brush stroke. Alright, so next we're going to explore a size four brush stroke. You don't have to use a size four. You can keep size for size to size six if you want that as well. But I'm just going to show you with sites for now what size four, I'm going to load up some paint. And firstly, I'm going to show you the thickest stroke that I can make using this brush with the maximum pressure. So when you really press down on your brush and apply a brush stroke, you will see how you'll get the thickest stroke. Width size for. This will be the thickest stroke that I'm going to be able to make. Alright. This is maximum pressure. Now I'm just going to slowly decrease the pressure. For me. I tried to place my palm down. That kinda works as the pivotal point or the balance point for my hand. And that's how I maintain the pressure. So the more I press on it, the more pressure I apply and the more likely I rest my hand on the paper, the lighter the pressure is going to be. Okay. So I'm just going to go ahead and slowly decrease the pressure that I'm applying on my on my brush. And the light to pressure that I make, the pinhole light lines, I'm going to get other thinner brush strokes. I'm going to get, if you really tried hard, you can get very, very thin brushstrokes with your size four brush. Now the importance of this exercise is to really understand the amount of pressure that you are going to apply on the brush and just get familiarized with it so that it's easier for you to really work with different pressures quickly, right? So now what we're gonna do is start off with very light pressure. Drag your brush, make a thick brush stroke, and then release it again by dragging it and getting it to the point. So let's try it again. Again. You start off thin, apply pressure drag release, come to the thin side, drag release and keep repeating this a couple of times. This will help you really just work your hands. Get a little bit of exercise in your exercises, movements and your hands so that it's a lot easier when you really have to make these different pressure lines and strokes in your painting. Alright, now, the next thing that we're going to learn is what the brushstrokes are for different plant elements. Now, in our class projects we'll be covering so many different types of plants and different types of brush strokes and things like that. So I'm not going to dive into all the plant elements that we'll be covering. But I'm just gonna give you a basic idea for it. So for our branches, Let's say we have to ensure that the pig branch that we have starts off thicker at the, at the base. And then as it tapers out, it becomes thinner. So this is where the different pressures are important, right? Because you're starting off with ten brushstroke, I'm in thick brush strokes. Then as you go upwards to your thinner branches, you are really applying very light pressure. And as you can see, even the branches have to be interconnected with one another. So don't go around making branches moving in the completely opposite direction because that's not very natural. Looking for a tree with wherever the main stem goes, we want your sub branches to go in the same direction. Now the next thing that we're going to learn, these grass shapes or stems that we'll be using in a lot of our class projects for this trope or actually applying the strokes are the pressure from bottom and releasing. And as we go up in different directions to start off with a little bit of pressure at the base. And as you move it upwards or drag your brush upwards in different directions, you release the pressure. And then the other one that we are doing very similar to this, we are applying the pressure from top to bottom. So you start off with pressure at the top and as you release it downwards, you're decreasing the pressure on it. Now this works well when you want to make flowers and that acts as the stem which will support your flower. You can always use a combination of these two brush strokes for these foliate sections. Now the next thing that I want to show you is how you can create these stems. Are these trees with a little bit of leaves on it. You will make the branch and around the branch wherever you want the leaves to be, you'll really just tapping little dots and lines and just really rough shapes are rounded. It doesn't have to be all stuck together around the branch that you've made. It can be really free flowing as well. It can be around it also. It does not have to be connected to a stem at all times. And it just gonna meet these little dots and lines and different shapes around. It's just very random shapes really around that and you're going to fill that area. And this is how you are going to make our leaves. And this show like a follow tree using your size four brush. So these are just some simple elements that we are going to use. Of course will be doing this in a lot more detailed manner when we are painting in our actual class project. This is just a small little exercise to get familiar with the type of brush strokes. Alright, so these three or four elements are done. Now the next thing that I'm going to show you is how you can use your spoilt brush, right? We want to see what the texture is about and how you can create that foliage on your cheese using a spoiled brush. This brush works really well for showing these trees at a distance. We're not see or not see individual leaves and real structures around it. And you just want to capture this fuller tree effect. So that's when you're going to use yours point brush for the textures. So I'm just going to show you how you're going to use it. So the first thing that you actually have to do is create a basic structure for your element. Let's say we are painting a tree. We need to create our basic structure. So I'm going to load my brush with some paint, which my, with my black paint. And I'm going to go ahead and make Or a stem or a branch really just going to release a couple of sub branches from the main branch. Just to show you what a simple tree would look like or a simple section of a tree would look like. You don't have to give a lot of details also because all of this gets covered. And then after that you're going to use your flat brush and load up some paint, make sure that you're getting rid of the extra paint around it. So don't load up a lot of paint just enough. You're going to tap on the Asia. So as you can see it creates this really random strokes are rounded. Instead of going with all single strokes using your brush, you really get that fuller effect by just using a spoiled brush and you get these smaller, thicker, thinner strokes all at once. So you can use a smaller size of the spoilt brush just to ensure that you get more compact strokes. And then using a round brush, you are going to tap in some extra strokes around it just to bring in a little more detail or, or give it a little bit more structure. Because obviously with your spoiled brush, you're not gonna get the perfect stroke that you need. It. We'll cover the shape of your tree, but you'll not get that defined look. You get the defined look by adding these little elements around it. You can also use spoilt brush for creating grass shapes. As you can see, it will create multiple grass strokes all at once. So you get thicker ones and thinner ones all at once as well. So it can work for that as well. Give it a try if you have a spoiled precious, Try it out. And religious, move it on paper and create different strokes. Really see what you can do with it. The more you get familiar with your brushstrokes, the better it's going to be for you in your class projects. So this is it for the brush strokes for plant elements. And we've learned how to create branches, different stems, leaves, how to create and use your brush. Now the next thing that we're going to do is learn how to make the dry brush strokes. Now these dry brush strokes are very important because we are going to use that kind of consistency and brushstroke for our clouds. As you can see, we're using it for our bright clouds and sunset clouds. We're also going to be using the dry brush stroke on the road. Wherever you want to add texture. On the surface, mountains, roads, whatever, you can use this dry brush effect. And it's also very important to know it because it's all about the play of the consistency of the paint. Right. So remember how I told you that when you use freshly squeezed paint from the tube, you'll get textures. So here I've used texture for reflection of water as well, just putting it out there. It's a first-class projects. I'm really excited to paint that do. So right now, I'm just loading a little bit of paint. I haven't added a lot of water in my brush, so I'm just using a very thick consistency of paint. As you can see, you can clearly see a difference between the consistencies of the two. So using this thick consistency of paint, if you've really notice that because you will feel like your paint feels like butter, soft butter. When I apply it on my cold press paper. Because of the texture of the paper, you can see how I'm getting this rough effect, right? You don't have to always do this horizontally. You can do these strokes at different angles as well. You can do it diagonally. You can really play around with the direction of it to create this type of effect. Alright? And for the clouds, we're going to be using a slightly more or less thick consistency. So you'll be adding a little bit of water in it. Not a lot. You remember the second consistency that I watched in the previous lesson? It's that consistency. It's still towards the thicker side, but it's not very thick like the, like the ones that give you the dry brush stroke, right? If you notice very carefully for these horizontal type of clouds that I've made here in all these class projects. There is a movement in my brush, so I try to hold my brush in the middle finger. And that's where the pressure point of my brushes and I can hold it at this acute angle. That way I'm brushing by. The brushstrokes are ready, like in this left and right motion. Right? I'm not going up and down. So the brushes always facing towards the left or right, depending on whichever direction you want to go to. And it's just always moving in that particular directions. It's always very horizontal. Alright? This type of brush stroke is used for creating these clouds at a distance. So whenever you have clouds above the horizon line which you want to shorten the distance. This is the type of brushstroke that you will be making, right? You can also use the thicker consistency of paint to add in some textures around the main cloud just to show that that section dissipate into the air. And that's a really cool way to play around with different actions to really achieve the element that you're going for here being Clouds. Obviously you're not going to have black clouds. This is just to understand the brushstrokes and different pressures that you'll be applying with different consistencies. Alright, so this is what we have covered so far in this lesson, and that is, we learned how to create different brushstrokes with our flat brush and a round brush. And we've learned different types of pressures that we might have to use for creating these different plant elements. So we've covered branches, we've covered leaves and stems and grass shapes, all of that. And we've also explored different brushstrokes for our textures and clouds, just roughly, we'll learn all about it when we're really making our paintings and just enjoying the process. This is it about different brush strokes. In the next lesson, we are going to start with a first-class project 7. Day 1 Part 1 : Sunset by the Lake: Alright, so welcome to your first class project. This is what we are going to be painting today. It's a beautiful lake sunset. You can see how we've captured the effect of water. So there are a lot of things that you are going to be learning in this project. Let's talk about the colors. I'm using. Cadmium yellow. I have primary red. You can use crimson red as well. Next I have Prussian blue, which is my absolute favorite blue. And you will know why I have burnt umber. I have sap, green. I have lamp black or jet-black? Yeah, you can use any black. And I have permanent white. You can even use titanium white. So these are all the shapes that I will be using. Gathered them up and let's begin. So I've taped on my paper on all four sides and taking the colors out on my palette, as I mentioned earlier. And I have a little swatch card with me as well. So the entire process in which we are going to proceed is I will make the sketch and you will see the reference image that I'm using pop on the left side of the screen. You can either watch me do it from that or you can also download the reference image from the project and resources section. You have a bigger version of that in view while you're painting. Alright, so let us start with our basic sketch. In our reference picture, you can see how we have a horizon line of code elements above that, and we've got elements below that, right? So the first thing that we will do is create the horizon line. I'm going for a rough sketch of the horizon line. I don't want a straight line. That's why I haven't used a scale. You can use a scale if you'd like. I am going to leave more portion for the Lake View and the land space that we have, a little lesser area for the Skype bot. So you can see how I've divided my paper. Right above the horizon line. We've got a bunch of trees and elements which are really far away, but we're still seeing some of it. And below that we've got some reflection of that, which we will capture using the glazing method that I showed you in the technique lesson. This is the element that's above and below the horizon line. We've got a land space. So we've got the lake side, right? And I'm just going to make a nice almost slant but uneven line at the bottom. Above that, you've got a lot of tall grass and reads and all those things that you find along the lake. So I'm not going to sketch every detail right now because it doesn't make sense. It's all gonna get covered with gouache. So you can either do it after you're done with the base layer style, it's easier for you to understand where you want to place them. I really liked doing it freehand. Just look, looking at the image and just going with the flow. But you can also sketch each and every individual stock yourself. But yeah, this is pretty much it for the basic sketch. And now we can easily dive into the painting process. There's one little detail that we see in the reference image and that is these power cables right on top. I'm just going to sketch it for reference. But really, I will decide if I want to add that or not once I'm done with the final paintings, because sometimes I feel like these power lines ruin your artwork if you don't get to place them in the right way. But I've just sketched it out. I will make the decision by the end of it and see if I want to really add that or not. But yeah, this is pretty much it for our basic sketch that is dive into the painting process. Alright, so the first thing that we're going to paint a sky, and I'm using my size ten flat brush for all the blends for this guy and the water as well. So the first thing that we want to get is the color for the area where the sunset is going to be. Alright. I'm going to mix my yellow color with a little bit of red color. Now you can use orange directly in your painting. I just like using a mix of yellow and red together to make my orange that I can play with the intensity of the orange that I want so I can make it warmer or a little bit more towards the yellow side if wanted, right? So two that I've added white and this is the color that we need. So it's like a nice, I wouldn't say completely pastel orange, but it still has a lighter tone to it. I'm using this orange color and I'm going to apply it using my brush perpendicular to the paper so that I have more control over my strokes. And I'm not making flat strokes. I mean, these nice thin, small strokes, I'm covering up the area as well, but it's still it's still gives me a little bit more control over the way I want it. And you can see it's not flat. And the next color that I'm mixing is yellow and white. So it's just a lighter tone of yellow. So we know that when we want to lighten up a color and gouache, we have to add white, right? So that's why I'm using this lighter tone of yellow using white. And I'm going to apply that above the orange and blended You'll notice how I'm applying very little pressure on my brush. I'm not holding it up really flat and just making those thick strokes. I'm just gently brushing it over. If you ever feel like your brush feels dry, then all you need to do is add in a little bit of water so that you are maintaining the consistency of your paint. And then you can do the blending process a lot easier. Next, I've made almost like an off-white color and I'm applying that above the yellow. So we're just getting in, getting in blends with three different shades. One being the lightest shade of yellow than one being the yellow and the orange color. Now I'm going to stop here and clean my brush completely. And we're going to go ahead and make our blue shade. For the blue, I'm mixing my Prussian blue with a little bit of primary red just to make my blue a little bit warmer. I didn't want to use Prussian blue directly and in the sky also in the reference image, you can see how the sky is blue, but it's still almost towards the purple side. So I'm mixing my red, Prussian blue, and white together to get this sort of like pastel blue shade, which is still slightly warmer. So I'm going to take that and apply it on the top. You can see how our brushes dry. So I'm just going to load up a little bit of water, make the mix slightly thinner. So that makes the blending process easier. Alright, now using my flat brush, I'm going to bring it down. We learned in the technique lesson that if you blend yellow and blue together, they're going to get a muddy color in-between, right? So to avoid that, I'm going to leave this little space width of my finger distance between the two colors. And we are going to switch to just white and get them to blend into one another. Starting off with the blue because it's still wet and I just applied that layer. So it's fairly wet and I can easily blend it out. So I'm just going to get the white to blend into the blue first so that I get a couple of lighter shades of blue in place as well. And then again, cleaning my brush and then bringing the blue down to the yellow or white, rather down to the yellow and making sure that that blends as well. If you ever feel like, you know, that layer has dried and painters not moving, even the washes easily reactivate with water. You can load up a little bit of yellow, a tiny, tiny bit of yellow, and a very light yellow. And you can apply that over that section again just so that, that harsh line that you have is not that visible. The blending process really is a judgment that you have to make based on your paper. Right now what I'm doing is based on my artwork, right? Maybe what you're doing will be slightly different and you'll have to make the judgment and the call based on that. Next, what I've done is loaded limpid of my burnt umber to my orange and I'm just applying that at the bottom because I've wanted a slightly more deeper shade of orange, which is not orange to as almost like brown. I've used burnt umber there and then cleaned my brush. And just using a clean brush, I'm going to blend it into the orange. If you again feel like the oranges not blending or the brown and orange and not mixing together. Then all you need to do is load up a little bit of orange on your brush, applied over the brow and just get the paint to move around. So this is a way in which you can create beautiful blends in your skies. And it doesn't have to be a flat blend always. You can just play around with the way in which you hold your flat brush to create gorgeous blend. Now I'm happy with the way the sky looks. We're going to do the water. You don't have to let the layer completely dry. We can directly move on to the water, but as well. Now the water or the lake bed is a pure reflection of what is above, right? So whatever it is above, the horizon line is going to get reflected on the lake as well. Since there isn't any movement in the water, we don't have to capture any details like that where you have to show the movement in the water and things like that. So it can be almost like it doesn't have to be the exact reflection, but you just to blend the colors out in the same manner. Obviously it will be inverted, right? So we actually move, when we move upwards, we went from orange, yellow, blue. But right now we are going orange, yellow, blue but downwards. I hope that makes sense. So I'm just applying orange, right below that, I'm applying yellow. Then I'm going to switch to my blue and make sure that you are maintaining the consistency of the paint and getting a similar shade in DSU run out of the shade that you mixed, makes sure that you're getting a similar shade. Otherwise it will look very off. So we want the colors to be in the same manner that you have on the top of the horizon line as well. Right now I'm just blending my blue. You can see how the consistency is slightly thinner, but I'm not going to worry so much about that because I'm going to add in the lighter colors and let white to his job for the blending process and just get all the colors in place. You're going to repeat the same process that you did for the area above the horizon line. You could play around with the direction. So instead of going straight flat, you can see how I'm blending it slightly curved, if that makes sense. But you can always play around, you can always change things and your artwork does not have to be the exact replication of your reference image. The reference images there for you to understand the subject, the composition, and the way in which you might want to make your artwork look like. But again, doesn't have to be the exact replication of what you're seeing. You can change the colors. As you can see, the colors that we have in an artwork is slightly different from the reference image and that's completely okay. So just enjoy the process of painting and learn something new and create your blend in the lake area. So just like what we did for the area above the horizon line, we added a little bit of brown. I'm doing the exact same thing in an inverted manner like I said, and just adding it slightly so I'm not adding the exact strokes. And one more thing that you can see is you have these harsh lines, right? Whenever you have these harsh lines, all you have to do is clean your brush and using your wet brush, you can just easily blend it out. So unlikely, do not apply a lot of pressure on your brush. Just gently brush it over and the paint is just easily going to move around. And you will be able to blend the colors into the previous layer. Alright, so this is done for our base layer, for the sky and the league bit. So make sure that you are happy with the plan. And once you are, you're going to leave it to dry. And once it completely dries up, we will add further details to this. Alright, so there's another thing that I want to capture and you have to do this once the layer has completely dried, is get in that sun or the lighter part of the sky in, I'm going to mix yellow and white. And this white and yellow is a little bit warmer. It's not as light as the one that we applied earlier, right? You can see how it's a little bit warmer. So you're going to load up this paint and add it not in the center somewhere towards the right side, you're going to just make these random brushed up strokes. Then using a clean brush, you will move the paint around, make sure that your brush is completely clean. And again, it has shouldn't have a lot of water on it, just a little bit of water. So it's just gonna do the same thing at the bottom as well. Load up this yellow paint, make a blob like that, like a roughly sketched out version of that. And right, when you do that, you will clean your brush and just using your clean brush, a little bit of water, you will smudge it out. Now it looks like a different shade, but once it will dry, it will match with the background layer. Because gouache sometimes tends to dry lighter or darker, light colors will dry darker and the darker colors might dry lighter. And while the paper is still wet, I'm adding a little bit of white in. And then again using my clean brush, I'm just going to slightly brush it out all the harsh edges around the circle. I'm just going to smudge that out slightly. So this is what it's going to look like. It will look very different once it's dry, you just have to trust the process here. Like I said, the lighter colors will drive that down a little bit darker. So you have to keep that in mind. And once you're happy with the way the sun or the lighter part of the sky looks, I'm going to leave it to dry. And this is what we are doing in the first part of this class project. You're going to let this dry. And in the next one we will be adding details above the horizon line 8. Day 1 Part 2 : Sunset by the Lake: Alright, now that our base layer has completely dried up, they're going to go ahead and start adding details for the area above the horizon line and reflections and all the details on Lake as well. I'm going for a mix of sap, green, black, and brown. We're going for a very deep dark enough color. And instead of using black directly in our painting, we are mixing a very, very deep shade of almost like a brownish green. And that is going to work out perfectly for us because it's going to be inline with the composition of a painting. So using this color and our size four or smaller sized round brush, you're going to go ahead and start making strokes right above the horizon line. Okay, so make sure that you have a good control over your brush. And you're going to start making these small random strokes of different sizes. Very similar to the branches section that I taught you. Branches and leaves section. Very similar to that, just a very compact version of that. And it's almost going to be in a straight line, right above the horizon line. And then the straight line, I mean, the basis treat. You will have to play around with the size of it on top. Make sure that you're making some smaller, some bigger. As you can see how I am doing, You're right. I'm making some some shorter. The next one is taller and then shot again. Then you can play around with the size and the width as well, so it doesn't have to look similar. So the more unevenness you will bring into your painting, into your composition, the more natural looking and naturally flowing it's going to look right? Because our eyes are so used to forming patterns that if you really worked up tall tree, short-rate all three short tree, easily identifying that as a pattern. In nature, there are a lot of things that are not in pattern. Obviously I'm not going into the depth of it. There are a lot of things that are in patterns as well. But when you have these trees around, they're not shaped in an exact manner. Unless somebody goes and sort of like trims them to look short and tall together. So try and bring in as much unevenness as you can into your painting. Now gonna go ahead and fill up the entire section above the horizon line in these different strokes. So remember some calls, some shots, some longer in the same space. And just a few little branches as well. Feel free to do it in a way that you feel comfortable. Now once you're happy with the shape of this, before working on the deflection, we want to add a little bit of lighter tones into that exact area that we have. Right now, I'm adding a little more green into the same mix so that the color becomes slightly lighter. It's not as deep and it is a little bit more green and visible to our eyes, right? And I'm going to go ahead and start making very similar strokes that I did earlier. This one doesn't have to be as tall as the one. Before that. We just want to show that the taller ones are little further away and we've got a lot of different plants in that area. We're trying to bring in a little bit of depth doing this in different shades. So this is, let's say the medium shade on top of this. Once this dries, we will go with a lighter color as well, just to add in some highlights in that area. So it really showing that there is still a little bit of depth in that section and it's not just flat in one single color. Alright, so I've gone ahead and added very similar strokes. They are not as tall as the previous layer, slightly shorter, but we're going to do it in a similar manner. Once we're done with that, we're going to let this dry and then we'll be switching to a lighter color on top. So as you can see, it's not that visible on camera as well. It will be a lot lighter when you do it and see it in person. The camera is not capturing the exact shade that I want. This is obviously the background is a lot darker. The middle ground or the middle section of that area is still a lot lighter. And on top of that I'm using a mix of green and a little bit of white and adding in some highlights, you're gonna do it only on top of that layer. And just in different directions, very similar to the leaves that I taught you. Just different random strokes in different directions. Make sure that you're not reaching all the way to the base. You don't have to do that, but just doing it on top of the second layer that you've added in that area. Alright, so now that we're done with this section, we are going to move ahead and do the reflection part. Alright, so for that, I'm going to be using the similar color that we use in the background, which is a mix of brown and green and a little bit of black. But the consistency of that will change The sense that the consistency will be a lot thinner. They're gonna be using that glazing technique that I showed you in the technique lessons where you're using a very thin consistency of paint so that you are still able to see the background color through this layer. But at the same time, you are adding a very thin layer over it. I'm going to apply it right below the horizon line. Keeping in mind the shape and the size of the plants that we've made above the horizon line. So the reflection is going to be in this very similar manner. It's not going to be taller than the ether that you've added on top. Okay? And also you can see how the reflection that I'm making is all consists of this horizontal strokes. Whenever we've got this little branch looking shapes, I've gone ahead and made this branch and then again made these horizontal lines on it. And then using a clean brush, I'm just blending it out so that these harsh lines that are, that you're seeing goes off a little bit. So you can do that by just brushing over using a clean brush. And you might have to keep cleaning the brush in-between. And then if you feel like you smashed it out a lot, you can go ahead and just add a few strokes using the same consistency of paint that you used earlier. And because that surface is wet, you remember how we learned in that third blend? In the blending technique where the paint which is moving to one another because there is water, right? So it gives that sort of blurred out effect. And this will dry out faster. So you have to be slightly quick. But in case you're not that quick enough, you can again go ahead and just smash it out using a clean water, clean brush. And that will ensure that your paint looks like it's smashed out. And we're doing this because we don't want to see the exact reflection of the tree on the water. It has to be sort of blurred out. It has to be a lot more shots, softer as compared to the sharper area that is above the horizon line, right? And that is why we are blending it out, smudging it out using clean brush. If you feel like you are not familiar with the amount of water that you have to use and keep in mind that you don't have to use water in the sense that it has to be water. You're just going to clean up brush and dip your brush in water and then tap of the extra water so that you're not loading up a lot of water on your brush. Alright, so this isn't about the reflection part. Now, I'm just gonna go ahead and add in some details making the judgment as per the look of it in the condition that I'm able to if you feel like you need to add a little bit more details, maybe this will look a lot better if I added few details. Go ahead and do that because I want you to have your elements in your painting as well. Not an exact replication of the reference image or even what I'm doing. You're here to learn the techniques and then apply that and do it based on where you are in your painting. Make sure that you are making the judgment you're making right calls. You are really thinking as to how you're going to proceed in your own manner as well. So this is what the reflection and the eight above the horizon line looks like. You're going to let this dry and then we'll add an extra details. Alright, so this powder not get recorded, but you can pause here or just watch what I've done. I'm just going to slide to repeat this step as well. What I've done is I've used my thin brush, which is my size four brush, and added a separation line between the horizon line. So the era that divides the sky and the water. I've done that. Then using the dry brush technique, I've just gone ahead and added some texture on the water. It's just white paint, but in a really, really thick consistency and I'm able to add a little bit of reflections and glistening of the water so that you really know that the leak bit. This is it for this section which is the Lake area. Now we're gonna go ahead and add in all the details on the ground in the next lesson. 9. Day 1 Part 3 : Sunset by the Lake: Alright, so now the next thing that we have to paint is the base, which is the ground space over lake side, right? So I'm going to go ahead and use a darker mix of green, which is again going for a mix of black and your sap green together. So you're going to mix them, create a very, very dark shade of green. You can use a flat brush here because this will help you cover up a larger surface area with just one single brush. You can also size up on your flat brush if you'd like. So I'm just going to use this paint and go ahead and cover the sketch for the base that I made in case you've lost that sketch, you can sketch it out before you go ahead and start filling this color in. I'm just going to use my flat brush and the same color and fill the entire surface area with this color. You can see how I've just covered up that space. So the ground space is done. And the next step would be to start making lines. You can let this dry also, or you can start making the grass and the reads in the same layer as well. So right now what I've done is made more of the same color. I'm gonna go ahead and start releasing these tall grass shapes, which are these reads and just a combination of different plant elements that you find along the lake. Right? So before we go ahead and start giving these these shapes, any heads or the little reads that we have to add. I'm gonna go ahead and cover the entire surface area with the grass so that I know exactly how it looks. Then we can go ahead and add extra details to this. I'm going to go ahead and just cover the entire surface area with a lot of these strokes very similar to the one that I taught you in the get to know your brushes lesson. You're just using that same brush stroke. You can make some of them pickers, some of them pinup. Again, you're really just playing around with different sizes of these brushstrokes. Keeping in mind that the right side ones are going to appear shorter because we want to show that that area is slightly further away from the observer. And the one that is towards the left and even the center, still going to be fairly low as compared to those, right? We're gonna go ahead and just play around with these shapes and add as many as you want. Really, there is no right and wrong here, and there is no right and wrong direction as well. Now on some of the graphs that I made on the left side, I've gone ahead and added some strokes around one particular grass which will resemble the reads. Now they're just almost like the branches and leaves. Just that they're a little bit more closer and a lot more in this triangular shape. Not exactly like a triangle, right? But just kind of similar to that, a conical shape. You can also make some dots on the graph on the right side as well, just to give variation in the brushstrokes and just make it more free flowing, right? It doesn't have to always have a particular shape or a particular order, right? So I'm just going around and really playing around in this area and adding what I feel like. It doesn't have to look exactly like the reference image. You can just play around with it and see what you like. I'm going for a lighter shade of green, added black and green together, but a little bit more of the green shade. And I'm adding some more shapes in the left side and even I'll be adding it on the right side as well. Just adding way too many different shapes in the area to see what we like and how we're going to proceed with this. Alright, so now that I'm done adding all these different grass shapes around that surface area in different sizes. What I'm going to do is let this dry. Then we will be going ahead and adding some highlights to this. And to add highlights, we go with a lighter mix of green. So it's gonna be the same color, but it will have more green so that, that pops up a little bit more as compared to the previous layer that you have. So it's really all about layering and adding details in that model. The brush strokes remain the same. You're just adding some water on top of the layer that you've already added, right? So it's just going to add almost highlights. So we'll be doing it maybe two or three times altogether. That being the darker color as the base. And then on top of that we add the lighter color. And then again on top of that we'll add in another lighter color. So the play here is all about layering and just filling up the space so that you're not seeing a lot of the base layer that you lead flat, right? So if you remember the foot in the beginning of this lesson, when we added the green, the surface looked very flat, right? So right now what our goal is to really fill up space so that it doesn't look that flat. So you can keep doing that in different layers of green and different layers of strokes. So you start off with a darker one. Now I'm adding a slightly lighter shade of green on top of that. And then if you feel like you can add in some more, then go ahead and add in some more lighter shade of green. And this is how you will be playing around with different shapes to make that surface area look a lot. Pickup. So go ahead. I'm going to leave you to it. Make the call depending on where you are in your painting as well. And see what are the types of strokes that you have to make to make it look a little bit fuller. And the things that you want to do with it. And once you're happy with it, you can let it dry. And then we will add further details to this. I really like the way mine looks right now. Obviously, we've got a lot of the area covered up and it looks good. I really like it. So what I'm gonna do is leave it to dry. Once it's dry, we are going to go ahead and start adding some splatters on it. To add splatters, what I'm gonna do is take a sheet of paper to cover up the surface area so that I don't get splatters all over the place. I'm going to go for a lighter mix of green, which is green mixed with white. You can add a little bit of brown that you want. And you're just going to load up that paint on your brush and tap it against another brush and it will automatically released this little splatters around it. This just adds a little bit of character into your painting. And this is the sheet that we've used for the splatters, right? So this is it for the painting. I really like the way this looks now. This is the time when you will go ahead, pick the call, make the judgment. If you want to add power lines or not. I feel like me could use a little bit of power lines and I'm not gonna do that with my brush, but rather a pen. Because I feel like I have more control over the strokes with the pen. I'm just going to use a size four or 0.4 rather point for fine liner. And I'm going to go ahead and carefully place my hand so that I have more control over the stroke that I'm making. And I'm just going to release these power lines. Don't think a lot while you're making these strokes because sometimes you might get really uneven lines to just be quick and just make the line in whatever form it comes. Alright, this is what our final painting looks like. I, I feel really happy that I took the call to make the power lines because now it looks really complete and it doesn't look empty. So you're going to peel the tape off once you're done with your painting, carefully peel it away from the paper. That is the trick. I'm pretty sure I follow me for a while. You know the trick of pilling pilling the tape that is period away from the paper so that you don't tear your paper. And if you ever feel like you are reading a paper, stop and start from the other direction. So now we've got these beautiful clean edges. I really like the way the painting looks. Before we go ahead and have a closer look at it, I'm going to use my acrylic marker and I'm going to sign my painting. And I suggest you do too, because you took the hard work to paint along with me and got a beautiful painting with you. So don't, don't forget to sign it. Dried a little, draw a little heart round your name, alright, the year that we're in. And once you're done, you're going to have a beautiful painting with you and we're going to have a closer look at the painting together. This is what a painting looks like. You can see how we've captured a beautiful color in the sky. If you're able to capture the reflection, we were able to really differentiate between the water and the sky and the reads ground, everything looks so beautiful and the composition is chef's kiss. Alright, so this is it for the first class project. I'll see you in the next one. 10. Day 2 Part 1 : Wildflower Field: Alright, so welcome to the project for the dual. This is what we are going to paint a day. Let us talk about all the colors. Here. I have cadmium yellow. Next, I have primary read. Next I have Prussian blue. These are the three main colors for the sky. Other than that, I have burnt umber, I have lamp black or jet-black, and I have sap green. And lastly, you can use titanium white or permanent white. And this is such an exciting projects. So let's get started. So I've taped down my people on all four sides and taking the colors out on my palette, all the ones that I mentioned in a small, almost like half of pea size, amount of fat on my palette. And we're going to start with little colors. Then we'll take in more colors if you need. The first thing that we're going to do is create our basic sketch right here I have my pencil and what I'm gonna do as you can see what the reference image on the left. I'm going to sketch out the horizon line first. So you've got elements above the horizon line, and we've got elements below the horizon line. So I'm just going to have a quick check. It's almost half. And right above the horizon line, I am just going to draw the first set of shrubs that you're seeing, right? The small, tiny space that is above the horizon line. Behind that we've caught a hail which has a bunch of different trees and all these different elements. On top of that, you've got maybe some trees and shrubs and things that you're saying, different shades of greens, obviously. Behind that as well. We've caught another hill which is slightly further away. It's not that closer, but it still has a bunch of different greens that we will have to work on. These are the elements above the horizon line. Below the horizon line, we've got a beautiful clean grassland and we've got a bunch of different wild flowers with different shades. You've got yellow and white. And There's different color play happening with different shades of green for the stems and everything. So this is the basic sketch. Once you're done with that, we're going to dive right into the painting process. Okay, So we're going to start off by painting the sky. The first shape that I'm making is a mixture of white with a tiny amount of black, a tiny amount of blue. And I'm going to warm this color up by adding red in it so that it's not just blew. It has a warmer shade of blue. It has a little bit of warmth in it. That's why I'm mixing my primary dead do it. And obviously I will make the shade darker or lighter depending on the shape that I need. I'm going for not too dark, so I've added a little bit of white to lighten the color. That's the shape that I'm making, and that's the blue shade. Next, we're going to mix our pink for that pink, I'm going to mix my red color. Make sure that your brush is clean before you start doing this. Mix your red and yellow together and add white in it. So you'll have a little more red than the yellow quantity, which will give you this peachy pastel pink shade. So that's your second color that you're making. You can keep these shades ready with you and then we can work on the blending. Make sure that I'm making is a mix of yellow and white together. So you get like a lighter shade of yellow and a little more pastel yellow. So that's the shape that I'm making for the yellow. So you can add more white if you feel that your yellows to deep, adding white light the colors. So these are the three shapes that I'm going to use for the sky. And let's start painting in, right? So I'm gonna use my flat brush and I'm going to load up a little bit of paint, a little bit of water, makes sure that the consistency of the paint is not too thick. You don't have to work with a thick consistency. You want to work with that milk or tea like consistency. Don't make it too thin because then it will start logging like watercolors. So make sure that your consistency is not too thin as well. Here, I'm blending yellow and the pink color together. So when you blend it simultaneously, you get a mix of these two colors as well. So as you can see, the pink has that yellow in it slightly, but if you feel like you don't like that shade, then you can go ahead and make more of the pink color and add that to you, have full creative liberty or to change things and maybe change the shades as well, if you'd like. Now to blend the blue that I've added on the top. I'm going to use white to bring it down slowly because I have to blend it with that peachy color. And if I mix it directly, it will make a mighty shade. We have learned this in the blending technique. We're going to apply that here. I'm going to use a white directly blended slowly with the blue. So make sure that you have that transition in the blue and then bring it down so that you have a transition in the orange as well. That you can add some more blue and blended when there is a base layer for the white than the muddy color is not that evident. And even if it is, it's not that strong of a color, it's a lot more lighter. And another thing that you can do to make the blending process easier is just clean your brush and use a clean brush to just move the colors around Once you're happy with the way you're blending and sky looks, you're going to stop and let it dry so you don't keep going in this back and forth left and right manner. Don't apply a lot of pressure on your brush. And I'm pretty sure you're going to have a beautiful blend in your sky right now. So this is what I've done. I'm going to highlight this. I'm just going to let this dry and then we will add more details. Alright, now that my sky is completely dried up, we're gonna go ahead and start painting the hill that is in the backlog. For that, I'm going to start using my round brush now because it's all details that we're adding. For this, I'm going to make a green color, which is a mix of sap green. I'm mixing sap green, a little bit of blue. So that makes the green a lot cooler. I'm adding a little bit of black to darken the color, and I'm also adding a little bit of brown in it. Just like to mix color colors around and see what shade I get. A little experiment that I do along the way. But these four colors are basically what I've mixed along with a little bit of white, just to make it a slightly more opaque. So we've added white. This is the shape that I got. You can pause the video and make sure that you have the same shade if you'd like. Now I'm going to use my round brush and I'm just cutting down the consistency a little bit. And I'm going to outline the sketch that I made and just fill in that entire area with this color. So just make sure that you are filling up that entire section. It doesn't have to be even or anything. The more uneven it is, the more realistic it's going to look, our more detailed, it's going to look with very little effort. Now right on the top, I'm making these small little strokes that will show the trees in that area. And without having to add a lot of details, I didn't want a flat hill because just added those little strokes to show that those are the trees that I'm adding. And then I added a little bit of white into the same mix using a slightly thin consistency while this layer is wet. You remember the blending that we read. The third type of blending where just blending two colors together while the paint is still wet. It's kind of like that. And I'm making these squiggly lines and just adding details of where you'd like the lighter shades of the trees to be. This eta is still further away, so you're not seeing a lot of details. So we can just work in these two layers and let it be. I really like the way this looks. I added some detail without having to work a lot in it. We're going to let this dry and move on to the next one. This one has dried. Now I am going to move on to the tree or sorry, the hill that is slightly closer to us. So to this green mix that I had already on my palette, I am adding a little bit of yellow to make it a slightly warm. I would say are just adding a little bit of yellow will give you a different shade. And I'm just going to use that color and then fill up that entire area using this sheet. So as you can see, I'm again, making sure that the consistency of the paint is not too thick. You don't want to go for the buttery consistency. Basically, you can add water to slightly pin it down and make the blending or just moving the colors a lot more easier. Now that I've added this, I am going to make a little bit of brown, sap green, and a little bit of black mix server still going for that deeper green shade. So you want a really darker green shade here. This is the swatch of the color that I've made. I'm going to go ahead and start adding those trees that we were seeing on our hands. So I'm just going to look at the reference image or not. You can follow me along this, add trees in different areas where you want it to be very randomly spread out. I'm not really looking at the reference picture here, honestly, I'm just adding cheese wherever I feel like it has to be indifferent. Locations do leave a little bit of the background color in the picture, so don't cover the entire section with this shade. Do leave a little bit of space in the background. But you can add the trees wherever you feel like it. So you can see we have not reached all the way to the horizon line yet because we've got another set of shrubs to make in the a, in that little section. So I'm just focusing on adding the trees on the Hill Currently. Made different types of strokes. I played around with the different sizes. There's no particular order that I'm following, just adding it randomly wherever I feel like it, honestly, that's the process that I go with every time I'm painting and just do what feels right to me in the moment. But I really like the way this is looking. So we're going to let this dry and then we'll add further details. Alright, so now that this has dried, we're going to make a lighter shade. So we're going to start adding layers to that, to add in a little bit more details. I'm going for a mix of a little bit of white in that same green that I used. And I added a lot more yellow in this to make it sort of like a lighter yellowish green color. And then I'm going to add in strokes on top of this tree layer that I made, all those darker greens that you see. I'm going to add in some strokes on top of it. It can be above the shape, slightly above the shape that you already made, but makes sure that you are not covering the entire, entirety of the darker green that you made, right? So just adding some strokes on top to show that, okay, that ear receives a little bit of light and it, it appears to be a lot lighter. The process or the idea here is that you are going to add layers to show the different shades of green in your painting. So you started off with a base layer for the health. Then you added the base layer for the trees. And now we're adding a second layer to the trees, which will show the middle color that you see. And then on top of this, we will add in an even lighter colors. So here you can see I'm mixing a little bit of white in the color the same shade. I'm just making that a little bit lighter. And then using this, I'm going to add in some more strokes. Now the number of strokes that I make, the final layer is going to be obviously lesser in numbers or the highlights are going to be lesser in number compared to the base layer or the second layer. You can see how I'm making only a few strokes. Just like towards the left or the top part of the tree are the elements. Niche natural elements that you see. The trees or the shops, whatever you'd like to call them. I'm adding highlights to it towards the left and the top, and they're just very few. Just to add in different variations of the green. I really like the way this hill looks. It will look a lot more completed once we have that shrub at the horizon line as well. So you're going to let this dry and then work on the shelf. Alright, so now that the second layer or the second hill has dried, it's time for us to start painting though, shrubs near the horizon line. So I'm making a darker green mix, which is into the same green, added a little bit more sap green, a little bit of the Prussian blue and our black color to make the shade darker. I'm going to go ahead and just fill up all the whitespaces that we could see, right? I'm just going to add in color, make sure that I cover the remainder of the whitespaces that I see. Now immediately while the paint is still wet, I'm going to add in a little bit of yellow into my mix. So making that shade a little bit lighter, you can also add a little bit of white in it. And while the paint is still dry, on top, on the top half of the data that I just made, I'm adding this a lighter green color. So this will just help blending these two colors together while they're still wet. Obviously they're not, they're not blending right into each other. They're sitting on top. But there's still a slight blend in these two. Then we will add layers on top of it. So we're going to let this dry. And while it's drying, you can make your mix. It's going to dry pretty quickly because gouache dries pretty quickly. So I'm adding a little bit of white into the same green color that I had or the mix of the hat on the palate. And this is the sheet that we get. It's a lot lighter. And then while this is still drying or halfway dry, you can add in some strokes on the top. Very similar to what we did for the strokes on the trees In the hill behind. Just going to add in some strokes randomly on the top part so you can see how you're able to see all those different shades of greens. And for the darker the medium and the lighter ones that is on top of it. So this one really flows into a straight line or a straight line because the shove is in that straight lines, you don't really have to work in the oil on the direction in which it's going. Right now, it looks really good. I'm not going to overwork it, let it dry. And in the next lesson we will create the background layer for the grassland 11. Day 2 Part 2 : Wildflower Field: Alright, so now that the area above the horizon line is done, we're going to focus on all the things that we have to paint below the horizon line. So the first thing that we're going to do is create the background layer for the grasslands. So I'm going to mix my sap green, yellow, a little bit of why? A little bit of brown and the green mix that I was using, the little puddle that I'm using for the green. This is the shade that we get a nice, almost like a little bit. There's a little bit of brown undertone to it, right? So I really like that using my flat brush, I'm just going to go ahead and cover up the area right starting right below the horizon line carefully. The consistency of the paint. Again, you can see how I am not trying to make it really thick or anything. It is a nice thin consistency. Now I'm mixing my sap green, Prussian blue, and black together, again using my flat brush, just brushing it into the background layer. So we have a bunch of different shades of green in the transition phase. So the idea is to start off with the lightest green right below the horizon line. And as you bring it down, you're going to start darkening the shade of the green. So as you come down, you will have to have a lot more deeper shade of green at the bottom. So that's the basic idea that we are going for. Now. The strokes does not, doesn't have to be always straight. You can play around with the shape here and the brushstrokes here. Obviously you don't go vertical, but make sure that you're still going left to right, but doesn't have to be really flat. And even right now, I'm mixing sap green, yellow, and brown and a lot more black in the color. So that I get a really, really deep shade of green. And I'm going to apply that right at the bottom. So if you've watched me do this, you can see how I've just played around with different shades of green. I'm really just playing around with a little bit of blue, a little bit of black, a little bit of brown. It's adding different shades of green. Now right at the bottom area where I want majority of my wildflowers to sit on. I am going to make a really darker mix of green. And I'm going to apply that as these vertical strokes. Now they're not exactly vertical, but they really like moving left and right, but they are majorly focused in that bottom part of the area. So you can see I've just added these strokes. You don't have to use a round Russia. You can use your flat brush as well. I'm just making these strokes using my flat brush. But if you're not comfortable here, you can use your own brush as well. I'm using my flat brush from the pin side, right? Almost like perpendicular to the paper. So I get these thin strokes. But again, if you're not comfortable, you can use your round brush here as well and cover up the bottom area using this type of brush stroke. Now I'm switching to my flower round brush because I want a lot more like detailed strokes. I'm going to start off by adding a little bit of texture on the ground using the darker color just to add different variations of the shade, right? Why I'm doing this is because we've got a bunch of different flowers in the background as well. So instead of adding individual strokes for the stem, I'm just adding the color there. So that kind of acts as the essence of the depth in the stems in that age are basically using the round brush. I'm also adding some strokes on top of that layer. So it's just a combination of having the stroke in and also having a few little stem details that you can see. Not a lot, doesn't have to be a lot more detailed or anything. You can just lightly add in some textures. The consistency here is not to take. We're not using particularly the dry brush technique. But since the consistency is still lighter, you'll be able to add in these strokes and the paper will absorb it and you'll be able to get that x should effect as well. So I really like the way this looks. We're going to let this dry and then we'll add details on top. Alright, so now that my background layer for the grassland has tried, other wildflower land has dried. We are going to go ahead and start adding some details with a lighter green shade. I'm using a mix of sap, green, yellow, brown. And I'll add in a little bit. And it obviously to lighten the color. So this is the shape that I am going to use. You can pause here, watch me swatch and get painting along with me. You can get a similar shade. Then let's get started. Right now the idea is to go and make these stems. You remember how we learn this brush stroke in our practice lesson? This one is top to bottom, so the stroke goes on the top and then comes down. I felt like the color was too light and I wanted to add like a medium, medium green in-between the Foobar before I added the light. Agree, that's why I made a medium green colors. So here's a swatch of that medium green shade Honestly, whenever I'm painting, especially for these challenges, are as much as this is a challenge for you. It is for me as well, because I just have to paint and really I do change a lot of things in between. I changed the shades. I changed the way I should proceed so that you get the right type of artwork are the results. By the end of it. I'm using this medium green right now and adding in a very similar type of strokes. So you can go top to bottom or bottom to top, like the brush strokes that we learned in the practice lesson. And you're going to fill up that area entirely with a bunch of different brushstrokes. Now you don't have to cover each and every space. You're sort of layering on top of that and using this medium green color, I've also gone ahead and add in some strokes near the horizon line or that flatter area as well. And then added some vertical strokes are just strokes in different directions to show that there are stems in that area as well. So I'm just playing around with a bunch of different sizes for the stem, some being really tall, especially the bottom one because they are closer to the observer and the other half being slightly further away. So right now, we're not focusing more on the final details and we're just having fun with this medium green color. When we're adding the lighter green color will be a lot more controlled because that green really going to be visible and you're gonna be seeing a lot more details with that green. So that's when you're making those highlights. You have to be a little bit more careful. Right now that I'm done with the medium green, I'm going to switch to my light green shade. So I'm going to add a bunch of different strokes, some from top to bottom and some from bottom to top, releasing the strokes that way. And using a combination of these strokes really helps because the top to bottom ones are going to be the ones on which the flowers are going to rest most of the times. And the bottom to top ones are just the stems in different directions. You can also make leaves. You can also make strokes that appear to be least. You can just play around here. Look at the reference picture for yourself as well to see how I change things or how I observe things and put them on paper. So it doesn't always have to be the way that I do it, right? You can, you might see things differently and you might want to achieve that effect in your painting differently using the same techniques of course, but you could be a little bit more detailed or not p, a little bit, a lot more detail as I am. Whatever works for you, just have that creative, creative liberty and just play around and have fun. And let's paint together. So right now, just added all little different strokes using this light green color. And I'm also going to add in some texture. Now, you can either tap of the extra paint on the tip that you have on the side or on a cloth because so that you have a little bit more control. But I've just gone ahead and added a little bit of texture so that we show that the lighter shade and the darker shade kind of like merge into one another. And this is it for the background layer. I really like the way this looks. Now in the next lesson, we will add all our floral details 12. Day 2 Part 3 : Wildflower Field: Alright, now that we are done with this, let's go ahead and start painting the flowers. For the flowers, I'm using a mix of a lot of white into that integral light green shade that I had. A lot more white so that it is lighter color. And I'm going to start off with the flowers that are closer to the horizon line. So this is the shape that I'm using. By the way, it's a very, very, very, very light shade of green, I would say using my brush, my round brush, I'm just going to start making these small little dots near the horizon line. They're not all in a straight line or anything, but we, we had those darker green shades. You're going to go ahead and add flowers on top of that area. And that is why we made those dark green shades so that we know where the flowers are and that acts like the depth in that era to show that, okay, That's darker because there are some flowers and some stems in that area. And that is why they appear that way. And then we're going to add flowers on top. And as you come closer to the horizon, to the observer, to the bottom of the paper, sizes of your dots are going to increase obviously because you're going to see them more closely. Obviously we're not seeing them so close that we have to add in some extra details into that or anything. Right now they're still dots of different sizes, some very close to one another, some being at a distance. So you can just play around with these little dots that you're making. And as you come to the area at the bottom where you have all these little stems and everything drawn out, the flowers are going to be slightly bigger. So I hope that makes sense that whenever you're working in area which is closer to the horizon line, flowers in that era going to appear smaller. And as you come closer to the bottom of the paper, your flowers are going to be a lot more bigger. For the flowers near the, at the bottom, I am going for a more whiter shade. I've mixed it on the side. I've gone for a lot more white into the color and the shape of the flowers. I'm not really focusing on a particular shape. I'm just making little blobs. To be very honest with you. That's that's the way that I'm going to move on. Move ahead with the flowers here. I didn't want to add a lot of details, but if you feel like you want to give them a five or six, but look, please feel free to do that. You don't have to follow the exact thing that I'm doing for the flowers as well. So I've just gone ahead and created almost like a base for the flowers first, before I go ahead and add any orange or the middle portion of the flowers, I've just gone ahead and added the base. And along with the bigger flowers of the biggest shapes, bigger blobs basically that I'm making. I'm also making these small and adults around it so that, that looks like these buds that are yet to blue or they're a lot more smaller flowers and things like that. So you can just play around with the different shapes and sizes in the area to fill in these flowers. I also wanted to add these yellow flowers, so just have different color variations. The yellow is a mix of yellow and a little bit of white. So I've gone ahead and added that as little dots, not as particular blobs that I made audio. Lot more smaller, they're lot more delicate, little flowers. And in our field, you can do that ad that you can add different shades as well. You could add a little bit of a pink, pink flower as well, or a purple flower as well. Whatever speaks to you, go ahead and add that in your area. You can see how I've done it and just add them in a similar manner. And just play around. Just play around and have fun. So I'm just adding these little yellow dots on the flowers that are all over the place, not just at the bottom. I'm not concentrating for the yellow flowers just to be at the bottom. And it's going to go ahead and add in some little dots and all of those other areas as well. So some that are closer to the horizon, I highlighted a little dot here and there and just show that, okay, that it also has these little yellow flowers that you are seeing. So play around and wherever you feel like it. And then using a mix of, I am using a mix of yellow and red here, yellow, red, and a little bit of white. You can also add in a little bit of a lot more white if you'd like. I've added a little bit of white and I'm just going to make Center dots for these blobs to, just to show that it is a flower and not just blobs. To give it a little bit more definition, not going for all exact details or anything. Just slightly out of in the middle. Wherever you see a flower with a little bit more of a shape, you can go ahead and do that. Once you're done with that, I'm using a light mics off a little bit of green and the white shade and tapping it against a pencil pen, another brush Just to create these little splatters. So we're just gonna do a lot of splatters, flutters here. Once you're happy with that, I'm using a light shade of the green color, so about a little bit more yellow in that and white to make it lighter. I'm adding a few more stem strokes. So this could rest right under the flower blobs that you made. If they're not resting on the stems that you made, you can just make them right now. You can make some stems, add in some extra details, add in some more lighter color if you'd wish to add in some more flowers, if you wish to. And just look at it, look at it, take a break, take a walk, and come back to it and see what you'd like to add or change or, you know, what, what is the artwork speaking to you? And then C. And then make your final decision of adding extra flowers, adding extra stems or leaves are different colors or whatever speaks to you. I just went ahead and added some more dots for the white flowers. I felt like the background ones, they dried out a little bit darker than I expected them to. So I went ahead and add some more dots using a more whiter shade. So I think it's just a white color that I'm using you. And I went ahead and added some extra dots so I really liked the way the fraud is. Look, didn't have to work a lot on the details, but we still were able to capture the essence of the painting. Now, I feel like there's something missing here. Still. I decided to go ahead and add in some birds. And because the Skylab really empty to me, so I didn't have any clouds or anything. So I thought, why not add in some birds? So I'm going to go ahead and make a mix of black and Prussian blue. And I'm using my round brush here for mixing the color. But since these birds are really delicate, they're very, very fine. It's better to switch to a smaller size brush that will give you a lot more finer details. You can switch to a size zero because that's going to give you a really, really fine stroke that you need with a bigger size brush. If you don't have good control over your brush, you will not get that fine stroke. I've gone ahead and added some birds. Now, the shape of the birds is almost like drawing an R and I'm just extending the wings out a little bit. And I'm making them in different directions, almost like flying in different directions and you can see how tiny they are or so, so small, really like the way this looks. So I'm just going to let this dry and then we'll peel the tape off. Alright, so now that the painting is dry, we are going to just peel the tape of carefully away from the paper. Make sure you're not daring your hard, hard work that you've put into this painting. We've got beautiful crisp edges that always makes me so happy. But before we go ahead and have a closer look at an artwork, don't forget to sign your painting. It's very important to do that. I feel like signing my painting makes me feel so proud that I created this. I'm so happy with my creation. And now let's have a closer look at our book. Says captured a beautiful, almost like a strawberry looking sky. We've got beautiful wildflower fields, different strokes for the flowers and stems and even for the hills, but able to capture the depth of the trees and the elements in that area. Over on overall, I'm really happy with the way that looks. I hope you enjoyed the project for detail. And here's a sneak peek for what's coming on. D3 13. Day 3 Part 1 : Into the Mountains: Welcome to D3. This is what we're painting today. It's a beautiful series of mountains and the color of the sky is absolutely one of my favorite plants that let's talk about the sheets. So here I'm using cadmium yellow. I have primary red, so I'll be mixing these two for the orange color. Next, I have Prussian blue. I have lamp black or jet-black, and titanium white or permanent white. So these are the only colors that I'll be using for this entire class project. Gather them and let's, so we're starting off with this. Get choose a reference picture. You can download the reference picture from the project and resources section. I have the colors out on my palette and using my pencil, I'm going to start with a basic sketch. Now, if you look at the reference picture carefully, we have a series of mountains, right? The further most is almost like this grayish, brownish color. It's very muddy colors. I'm going to sketch that first, the first brown set of mountains that you see, that's what I'm sketching now. Below that we've got a slightly darker color of a mountain. It's not that dark, but it's still not that light. So I'm going to sketch the ones that you're seeing on the left side first. And then in the middle we have this nice sharp peak of a mountain. And then beside that you can fill it in with the other shape that is of the lighter gray color, right? So basically looking at the reference picture and trying to bring in the shapes and the contours of the mountains that you are seeing. So it doesn't have to be exactly in the same placement as you see it in the reference image. You can tweak certain things here and there. But I'm just trying to still maintain a very similar sort of structure for my composition. Now that I'm done with mountains in the background, I'm going to sketch the one that is closer to us. On the left side. You can see how that mountain, there are two mountains, if I were to divide it, one having that gray streak, that is going to be like the separation point between the two mountains that we see. You can see how it goes down from almost more than half of the paper. And it just goes narrow and it just comes down immediately. So you're seeing a lot more structure in that area compared to the mountains that are in the background, right? You can tweak it a little bit to look at the sheep, observe it, and then try to sketch it out according to that. So right now, just look at the shapes that you're seeing and try and place the shape of the mountains accordingly. The last mountain that I have is just in the corner, right? It's almost from half starting from half on the bottom side and then bringing it up towards the right. So this is the basic sketch for my painting. I have all the details for my different shades of mountains that are going to be there in case you want to change certain things, now is going to be the right time to do that. But if you're happy with the sketch, you're going to leave it. And then we'll dive right into the painting process. I really like the sketch right now. So I'm just going to let this be and dive into the painting. So I'm going to use my flat brush for the painting process. And we're going to start off by painting the sky first. In the sky, you can see in the reference image as well, you've got a deeper shade of orange, which is closer to the mountains where the mountain start. And then it transitions into this almost like a lighter orange color or more yellow orange color, and then that transitions to the blue. So I'm creating a mix of my red and yellow together to get this orange shade too, which I'm adding a little bit of my white paint to lighten it up. So this is the mix I have. I use red and yellow together to have more control over the type of orange that I want. But you can use orange directly as well in your painting. This is the shape that I'm using for the orange. As you can see, it's a lot deeper. It's a very, very warm shade of orange. It's a lot more deeper shade of orange. And using my flat brush, I'm just going to go ahead and apply it at the bottom. I'm not adding so much. I'm just adding a little stroke at the bottom. And then we will lighten the color up slightly because just apply that nice thin stroke. And then to lighten it, I'm adding a little bit of white and a lot of yellow. We're going for a nice yellow, light, yellow color, which still has that hint of orange underneath. So this is the shade that I have. And then I'm going to apply it on that line which was off the stroke that I already have. And then I'm going to blend it in this left and right manner. So you're just gonna get this darker orange color with the yellow orange color that you have, and just get it to blend nicely. So we're going to use the blending with white technique here, the one that we did earlier in the technique lesson. Now that I have the yellow and orange blended into one another, it's time for me to move on to the blue. So I'm going to mix my Prussian blue, black and white together. I don't want the blue to be just blue and white. That's why I'm adding black in it just to give it that deeper. Greer undertone And that comes with the black and white mix into the blue. And I'm going to take my flat brush again and bring it down starting from the top area. Now a lot of people prefer to start the painting from the top. I like to start by painting from all the colors at the bottom and then I move upward. So you can move from top to bottom as well. If that's more comfortable for you, there is no right and wrong in a way to achieve a particular artwork or paint something. You would like starting from the blue, moving downwards and then adding the yellow, orange, Go for it. That is also right, it's not wrong. What is easier and more comfortable to you? So now what I've done is left that whitespace and that's where I'm going to use white to blend these two colors together. I'm pretty sure by now you are slowly getting a hang of how the blending process works. Because we've already used this type of blending process in the previous two class projects as well. And for most of my paintings, I end up using this format where you have to use some white to blend the two colors together. You'll see me do this a lot in the upcoming projects as well. So right now I felt like the blue was not dark enough as compared to what I wanted it to be. So whenever you have a situation like that where you've laid out your colors and you feel like, Oh, I don't like how this is looking at the way lighter than what I wanted or way darker than what I wanted, then you can always take the call, make the judgment at that time, and maybe add a darker color and repeat the blending process depending on what situation we're in. I felt like it could use a little bit of a darker blue at the top or a darker blue gray color at the top. So I've just gone ahead and added that. Another thing you will have to note when you're working with gouache is the lighter colors will dry down darker. So do remember that when it's wet, it might appear that it's really light and once it dries, it might appear darker. So do keep that in mind when you're working with gouache. So I really liked the blend here. I feel like the colors will just dry down a little bit darker. So I'm not going to do anything else to this. I'm going to leave it to dry because I like the blend between the blue and the orange. Alright, now that the sky is completely dried up, and as I told you, it will dry up a little bit darker. And here we have the darker version of this guy. It's time for us to go ahead and add in the Cloud. So you remember how I showed you the dry brush stroke and I told you that we might be using the dry brush stroke for a lot of different things. This is one of the ways in which you use it and that is get a thick consistency of the paint. And you can create some textured clouds in the sky using the dry brush technique. So I haven't mixed of my Prussian blue and black and just a little bit of white. It's a very deep dark color. And you can also brush the brush over the masking tape so that you get rid of any extra paint and then just brush over your paper because of the texture of the paper. And when you have a dry brush stroke, the dry brush, you'll be able to create these textured kind of clouds. Now, you can look at the reference picture for the placement of these clouds. I am just going around and just making it in a very random manner. We're really referring to the reference image at this point and then gone ahead and added some textured clouds. So you can go ahead and add them wherever you feel like it. But try and focus them majorly on the area where it's slightly greenish in the middle and the blue part. So that's the area where you want to focus more on because we'll be adding some, Let's say like lighter color or a woman color of clouds in the era, which is in the orange, orange part of the sky. That's will be, but that's where we will be adding. Some lighter clouds. Focus these textured clouds majorly in the blue part of the sky. We can go ahead and play around with the shapes as well. And the sizes extend them or make them shorter depending on how you like your clubs to look. Now that you're done with this, I'm going to go ahead and make a mix for the warmer AVR clouds. So I'm mixing my red paint into the orange puddle that we used earlier. So I have red paint and I'm going to add a little bit of yellow in it just so that It's this yellow, orange color. I haven't added any white in it. That's why it's a very deep shade of yellow, orange color. And using a little bit of water, I'm just going to mix them together. But make sure that you're not adding a lot of water because you want the consistency still be towards the thicker side. And this time we're going to go ahead and use your brush again to create some textured clouds right under the darker clouds that you have. Focusing more obviously in the yellow, orange area of the sky. So go ahead and play around with the clouds here. One thing that I've done here is made the shape of the clouds a little bit thinner compared to the ones that are on top. Just to bring in that play of distance. You can see how the ones near the mountains as we're approaching the Ada closer to the mountains are a lot more finer and finer brush. The brush strokes have a lot for fine. And I'm just going to leave it here because I really like the way this looks. I'm going to stop here and in the next lesson we will start painting mountains 14. Day 3 Part 2 : Into the Mountains: Alright, so let's start painting the series of mountains, right? So as you can see in the reference image, the one that is further away from the observer is like this. Almost like a muddy gray mix, right? So I'm going to mix my blue color puddle with the yellow, orange color that I had just to get this grayish blend of color. If you don't have something like that, you can just add yellow, orange, and blue together along with a little bit of black and white to get this muddy mix. The right. So this is the first set of colors that I'm going to use and using my round brush itself, I'm gonna go ahead and add that. Now over here you don't have to use the dry brush technique, so make sure that the consistency is nice and thin. Not too thin obviously, but in that workable type of consistency with gouache. And I'm going to go ahead and just add this color all over the age of four, the section that is the furthest away. And then after you're done with that, you're going to let it dry and then go ahead and move on to the next mountains. Alright? Now, the way in which you create that effect of fog or effect of the weather top of the mountain is a lot more darker and the bottom is slightly lighter. You get that by just lifting off the paint so you can just use a little bit of water and paint in your brush and just lift off the extra paint on the paper and you'll be able to reveal the background here. And that's the way in which you can create that sort of foggy effect or that uneven effect in your mountains because you don't want flat layers over here. You want to create that effect of fog in your Mountains. Now the next set of mountains that are making is a mix of Prussian blue. I'm adding a little bit of black in it and then white because we're going to go ahead with a lighter blue at the background. And then as you come down, the blue is going to become darker, right? You're going to start off with the colors in a very right manner. Because if you mess up, then you won't have that right transition in your mountains. This is the shape that I'm using for the mountain right now. Going ahead and outlining the shape first, remember how I said you outline the shape first and then using water you can just move the paint around. I'm just going to outline the shape first. Clean my brush. You can load up with the light consistency of the paint on white paint in this area and add it in using the third blending technique that I showed you in the technique lesson. Right? Way be blended two colors together while they were still wet. So when they're still wet, there's a lot of room for movement. There's lots of room for the colors to just blend into one another without having to do a lot of the work. Obviously, they will not blend exactly like watercolors do, but we'll still be able to move these colors around. So you have to keep cleaning your brush and adding the darker color at the top, bringing it in and filling in that area with the shades that you get a lighter color at the bottom and the darker color is at the top. In case you're not able to capture that, you can just go ahead and add it again on the top and then blend it out. Now I'm going for a slightly darker shade of blue for the next set of mountains. For this one, the blue is slightly deeper. I'm adding the blue at the top, outlining the shape of my mountain first. And once I'm done outlining the shape, I will clean my brush, add in a little bit of white paint and a thinner consistency of the white paint. And just mix it at the bottom and blend it with the layer that I just made or the brushstroke that I just made. You can really see how the two colors have blended into one another. And they've also created that effect of the top part being darker and the bottom part being lighter. So that glow in the mountains is a lot more visible. So now we're gonna move on to the next mountain over here. Again, we're going to start deepening the shade, right? So I'm going to mix my lag and Prussian blue with only a little bit of white. So they get a deeper shade of the blue color. So make sure that you are transitioning in the right manner. Otherwise your blue will not show the difference that it needs to show. That is very important. We're going to go ahead and outline the shape of my mountain again, carefully going ahead and outlining the shape before we go ahead and add anything else. So just outlining the entire structure first. And then once we're done with that, we will clean our brush and add more details. Alright, so I've gone ahead and added it at the top, bringing it down a little bit so I need a dark color. Quite larger area of the mountains and then clean my brush, loaded the white and just adding it in a roughly just blending it with the darker color so that I create that glowing effect of the foggy effect in the mountains. If you ever feel like it's not blending enough, then all you need to do is load up a little bit of water or a slightly thinner consistency of the darker color. And just move it around carefully so that it will blend. If you move it around, it's going to work, trust me, it's going to work over at the mountains. Instead of having a flat structure went ahead and added some little uneven shapes to it. So that now you're bringing in details into your mouth is, and they're just not flat layers altogether. I really like the way this mountain looks and you can see how it, once it dries really pops up even more. So you can see how it's this nice blended between this nice blend between the darker and the lighter colors of the mountains. Now for the next one, I'm going for an even darker shade. It's still not in its darkest format. Remember that because you've got the left ones to add and that will be the deeper shade of the black and the blue color together. Now I'm gonna go ahead and use the same method that is outlining the top part first and then adding it with the whiter or the lighter shade at the bottom and just blending it in. Now over here, instead of having flat strokes for the mountains, I'm making these vertical strokes first just to show that, okay, there are trees on this mountain. Then there's a little bit of detailing happening in the mountains. And I'm adding the color, bringing the color down slightly. And then I'll clean my brush and load up a lighter shade of blue or white, or the aim that thin consistency of white. And then added at the bottom and blend it with the darker color. So I'm just going to move it around and blend it in. This is the way in which you create that glowing effect in the mountains. And you will have to work this out with all your mountains, especially the ones that we've done so far, you'll be using this exact method and you can see how it creates that foggy effect. The top part appears more darker. The bottom part is a lot more lighter. Once it drives, that affect really pops up even more as compared to what it looks like when it's wet. And you'll have all this working space specifically when it's wet. Because, you know, the, the layers we'll just blend into one another slightly and your strokes will not be that harsh. So I'm just going to leave this here. I like the way this looks. We're going to let this dry. And then the next lesson we will be painting our final mountains and details 15. Day 3 Part 3 : Into the Mountain: Alright, so now we're going to work on the mountains that are towards the left side. And as you can clearly see, we've got two different partitions to work with. One slightly being behind the other. I'm going for a really dark mix of Prussian blue and black. So Alicia, more of the black quantity, but we're still going for that blue color. I'm going to go ahead and start making these nice short vertical strokes like we did previously. This one. This time it has to be a little bit more defined and just vertical. So as you are transitioning to the shape of the mountain, the brush stroke remains. So I'm still making vertical brushstrokes itself. I'm not changing the direction of it. I'm just moving along my sketch. Once I'm done with that, I'm just going to go ahead and pin down the consistency and make the process of filling that entire area a little bit easier. So the yoga not going to go ahead and add white right now like we did before. This time, I'm just going to fill up the entire section with the same color. And then we're going to go ahead and add in details on top using the white color. So I'm just going to go ahead and ensure that my background detail is nice and evenly spread out first before, before I go ahead and add those effect of the era of the mountains receiving more light as you see in the reference image. Now that I have this, I'm going for a mix of white and the same Prussian blue and black mix. While the paint is still wet, I'm going to go ahead and make this stroke along the shape of the mountain. You can see how I'm moving it upwards. So it's creating these streaks to show that that area receives a little bit of light. If you think that you've done too much of the white color or too much of the lighter shade, you can go ahead with the darker color and add in some strokes in and fill up that entire section. Just add in depth again in case you feel like the white is too much. So you'd have to go back and forth here to have a look at the reference image. And once you get in those trees, you will let her entire section dry before moving onto the next one. I really like this one. I'm going to let this dry and then we'll do the next mountain. Alright, so now we're going to move on to the next set of mountains, which is in front of the one that we already made. So this one is going to be almost the same color, but try and make it slightly darker. Let's just like a little bit. And then you're going to mix black and Prussian blue. Then using that color, you will go ahead and apply it at the top. So again, same kind of movements, vertical strokes to bring in some details in your mountains. And using the same method as you did earlier, you will fill up this entire section first and then create streaks upwards to bring in that effect that that area from the bottom to the top receives a little bit of light and gets in that glowing effect. Alright? Now you can play around with the shape of the mountain that you want it to be. In case you want to make it a little bit more up or down. I mean, obviously you cannot make it down if you've already made it up there in case you want to make it taller and a little bit towards the top half of the paper. You can go ahead and make that using these vertical strokes. And then you will fill in this entire area using your brush. Fill up the entire section using the same color. And once you do that, you can add in details using that same method, which is creating that stroke upwards. You can see how I've done here, very similar to the one that I've done in the background. I've gone ahead and created these streaks upwards. So from the bottom at curves in, goes straight up and then curves slightly in, again, kinda flows with the shape of the mountain. You will find this in the reference image. But if you don't want to look at the reference image, you can just pause here and look at how often. Now you can do this while the paint is still wet. And if you ever feel like, Oh wait, I've made a stroke which is a really harsh and it does not look blended with the background. Then all you have to do is use a wet brush and you can just blend the edges out. It will blend in with the background color. Again, if you also feel like there's too much of the light color and play which is a mix of your white with the same shade that you used for the background is just a lighter version of that color. If you feel like there's too much light, then you can add in the darker color and just play around, blended in and just play around with these streaks. Now, it works really well when you're looking at a reference image, you get Exact idea of where you want the strokes to be in, how you want them to look. So I would suggest having a look at the reference image for this point. I really like the way this looks. I'm going to let this dry. Alright, so this is the dried-up version. You can see how these strokes go upwards and you can see that that section receives a lighter. They're really able to catch in the details of the mountain there. Now for the mountain which is the last one, it's a mix of Prussian blue and more of the black color. So it's a really deep color. More black, very little Prussian blue using this color. But I'm going to do is make the last set of mountains. So I'm just going to swatch it for you can see it's almost a color that's close to black, but it's just not plain black. I'm gonna go ahead and make these vertical strokes, again showing the details of my mountain. So making this just shows that it's uneven, their trees there or there's just uneven shape and it's not just a flat surface, right? Mountains are not generally just flat surfaces. They've got a lot of elements in there. You've got a lot of trees or rocks and things like that, and they're very uneven and they don't follow a structure altogether. So that's exactly how we're putting it. Making these vertical structures that there are different shapes and elements there without really having to work in on the details. Then I'm adding a little bit of water in my brush and just filling up the entire section with this color. And I add a little bit of water and thin down the consistency of my pain because then I get this uneven set of color blockage where some areas still is a little bit light, as you can even see here. Sum is more opaque, so I liked that unevenness, but you can also go for a flat one. I liked the effect of the uneven surface rather than it being one flat layer. And that is why I go ahead and create it like this. Once I'm done creating the base layer, I'm just going to go ahead and just tap in some vertical strokes all over the place, ensuring that I get my shape of the mountain, it's all going to dry out really doesn't make much sense. But I'm just filling up any lighter spots that I could see if because they were too light as compared to what I wanted. So I'm just filling that in slightly, but there's still this unevenness that you're able to show in the mountain. I really like the way this looks. So I'm just going to let this dry. And then we'll add a moon and B have almost reached the end of my painting. Anyway. So everything has dried. Now, I'm going to clean my brush, load up some fresh white paint using my same size four brush. And I'm going to go ahead and create a small moon so you can switch to a smaller size brush here. If you feel like, I don't like the size of my brush or it's not, it's not small enough to create that beautiful crescent moon. So I'm just gonna go ahead and using the brush carefully, add a crescent moon. You can add a full moon, you can add a half-moon. You can not add a moon if you like. This is a personal preference. Do as you please. The reference image had a mode and there you only wanted to add a very delicate looking crescent moon on the top. That's why I went ahead and did that. But if you don't feel if you're not feeling it, go ahead and add that as well. And this is it for our final painting. Once everything has dried up, you're going to carefully peel the tape off. Now you know how we feel the tape off that is away from the paper so that we get these nice crisp edges. I really like the way this artwork looks because it has these beautiful colors in the background. I love the blend between the orange, the yellow, the blue, and also the mountains. The details and my mountains are my absolute favorite. Let's have a closer look at this. So this is your final artwork. Take a moment to appreciate it. By the way, you've done a very good job and you deserve to sign your painting. You can use white gouache or white acrylic marker or anything that will show up on the darker surface. Sign your painting and admire it. And let's have a closer look. You can see how we've been able to capture the sky, the textured clouds, series of mountains, and even the effect on the mountain like it has turned out. So very close to what the reference picture looks like. Honestly, we've just done a good job. I feel and I'm I'm pretty sure you've done a good job to do upload your class projects under the Project and Resources section, I would love to see it. And here's a sneak peek of what's coming on. D4 16. Day 4 Part 1 : Scenic Road: Hello, hello, Welcome to a day for a class project. This is what we're painting today. Let us discuss all the colors. Here. I have cadmium, yellow, I have Prussian blue. Next I have primary red. I have sap green. You can use another green here as well if you'd like. I have jet-black and Alaska that I have is prominent white. You can use titanium white here as well. And you can substitute these shapes for something similar as well. Let us dive into the sketching process. So here I have taken all the colors out on my palette and about to tape down my paper. So we're going to take our pencil and just create the basic sketch. So here are the reference picture. As you can see, we have a beautiful road that leads into a point almost like at the center of the paper. We have to bring in that perspective of distance here. So first I'm going to just draw the horizon line just to understand the difference between what is above and what is below the horizon line. Just making sure the line is straight. Now I'm also going to draw a vertical line almost at the center of the paper. Doesn't have to be exact, but it can be almost in the center. Next, I'm marking what I want the width of my road to be that diminishes into that point. Alright? Then I'm going to bring one line sort of curving down. And then I'm going to attach it to the left and right side at a distance from the bottom. So you can see how I've left that distance from the top, I'm bringing it down and I've left a distance at the bottom. And I'm just joining it like that. This brings in a perspective that the road is endless and it's going right into the paper. You also have to sort of play around with the sizing of it in the middle to understand the width, there is going to be a mocking out all the lines that I'm seeing, the white lines, the center lines. I'm also bringing in that partition that you can see in the reference image where one part is lighter green. And then above that, we've got all these trees and a lot of details of trees there. Similarly on the left side as well. I'm roughly marking the atria are the contours of the area where I'm seeing lighter green. And then behind that, just roughly sketching out the trees. Now the size of the trees will also change depending on where I'm placing them. Above the horizon line. I'm placing two sets of mountains, one slightly smaller than the other, and the one at the back, which is the first one, has a little bit off like snow covering on it. So we'll get all of those details in when we are painting. But this is your basic sketch. The trees will be placed in depending on the sizes and I'll take you through the entire step when we're painting goes. So this is the sketch, Let's paint now. Alright, so we're gonna start off with this guy first, I'm using my flat brush here. That makes the blending process a lot easier. We're going to mainly focus on three shades for the sky. First I have a mix of yellow and white. And I'm just going to get this nice light. Yellow is not yellow directly, but it's still almost like a warm yellow color. Next, I'm mixing my yellow and red together to get an orangey color, to which I will add a little bit of white to lighten it. So it's not going to be that deep orange. Alright, and this is the swatch of the orange color. And the next shade that I have is going to be the blue. So before you go ahead and do that, make sure that you're completely cleaning your brush. I'm going to make my red with a little bit of Prussian blue and a little bit of black and white. These four colors are going to go in. Red, Prussian blue, black and white. And you can just play around with and wanted towards the blue. But we want a little bit of red and black. So it should be like purplish, grayish color. Start poeple exactly, but it's still warmer. So these are the three shapes that we're going to use for this guy. Again, before you go ahead and start putting the colors out on your paper, make sure that you're cleaning your brush, giving it a nice double drinks. They're going to start off with the yellow color first. So right above the horizon line, which is above the mountains that we have, I'm going to go ahead and just add in the yellow. I'm also adding in a little bit of white just to show that that area is a lot more vibrant and a lot more lighter. And probably the sun as just set that Ada appears like that above the yellow. I'm going to go ahead and blend the orange color. Make sure that you're moving quick because gouache dries faster even though you're able to reactivate the paint. But if you don't move quick enough, sometimes it's very difficult to reactivate the paint and I mean, I wouldn't say it's difficult to reactivate the paint, but it's difficult to get rid of that harsh line that it forms this week quite quick. That's where we're getting all our paints ready so that the process is Hello. So right now I'm blending the orange and the yellow together. I really liked the way the blend is coming along, right? So we've got the yellow and the orange to blend in. Well, now, once you done with these two shades, remember you have to clean your brush, give it a nice double rains, and then you're going to move on to the blue. So again here we're using that method of blending the two colors using white. We've learned this. That is why it was there in the techniques lesson. If you haven't and you're finding this difficult, I would suggest you just give it a watch. Don't even try it out. Give it a watch. It's good to understand why we do what we do or take the steps that we need to do to get a nice in our sky. Right now I'm using white to blend the two colors together so you can see how I'm reactivating the paint in case I feel like the blue is not moving, maybe it dried up. Then you just add a little bit of blue into the white and just get them to blend into one another. If you feel like, oh, the space seems to be a little bit less than, you just have to be very careful when you're blending the two colors together. Because if you blend them with a lot of pressure, then you'll get that muddy color which we don't need to be very gentle with it, be very light with it. This move with very little pressure on your brush, you don't have to apply a lot of pressure. The lending process will be done. Light to your pressure is on your brush, the better the blend is going to be, at least that there's something that works for me. I try and keep the pressure on my brush really light. And I feel like the brush just glides and gets the colors to blend into one another. Of course, I am putting in the effort, but the blending process is a lot more easier in that way. I really liked the way this looks. So I'm going to let it dry and then we'll add the mountains. Alright, so the next thing that I'm going to do once the paper is completely dry is paint the mountain. So I'm going to switch to my size four round brush. And I'm going to make a dark, almost like an indigo color. So it's a mix of your Prussian blue with a little bit of red and black. So these three colors will go in together. And we can add a little bit of white to bring in the opacity and bring in a little bit of a lighter color to that. I don't want just these three colors that is blue, red, and black to mix together and create a very darker that's close to black. So I just want the depth in the color, but I still want it to be slightly lighter and a slightly more opaque. I'm just mixing those four colors for now. That is red, blue, black, and your white color just a little bit of white by the way. I get this nice deep indigo looking shade, right? It's not exactly in the group because integrates a lot more blue. This one is still a lot more towards the grayer or the black side. This is the color that I'm using. I'm going to go ahead and carefully outline the shape of the mountain that I sketched out. If you feel like the sketch is not showing up for you, you can draw it again and go ahead and outline that. Now I'm going to go ahead and just using my round brush, stood up a little bit of water and blend the outline with the colors and just sort of fill in the space all the way up until the hill that's below it. And again, it's very similar to the previous class project window where we don't want a very flat blend. It's okay to have that unevenness in your mountain. Now what I'm gonna do is take a little bit of white paint, just slightly clean my brush, you can still see this a little bit of the blue tone. And while the brush, the paint is still wet. So doing this, while the paint is still Lopez, you're adding these strokes that will act as the base for the mount for the snow that you want to add. And you can see how I'm making the direction. So right from the center, I'm putting some towards the left and some towards the right amount going right into the details of where I want the strokes to be. But I'm kind of assuming some of it is towards the left and some of it is towards the right. Keeping in perspective at the Mount mountain is almost like a cone, right? So I'm just trying to keep in that perspective and create the strokes based on that. Now once it dries, you can see how the edges are smushed out, right? That's exactly why we did it while it was wet. Is that third blend that I was showing you where when you blend the colors when they're still wet, the, the, the outline or the harsh edges are a lot more softer. Now just gone ahead with the dry brush stroke, adding few little strokes on top of the same direction that I've put it in. Honestly. I'm just creating some textures on it to show the textured snow effect. All in all, that's what I'm doing. The consistency of the paint is really thick. And that's why when I'm brushing it over on my paper, it's creating that x should effect, right? So you're gonna go ahead. You can look at the reference image here for understanding the placements. I went ahead and added a lot more snow on my mountains than there was in the reference image. So as you can see, you take the clay creative liberty to change things Based on whatever feels right to you in the moment we're here to practice, we're here to have fun. We're here to paint artworks. We're not going for perfection here, but rather just enjoying the process of painting and coming up with a beautiful outcome in the end, even if we like our painting are not constantly in the end. If you don't like a painting, It's okay. We've learned something new that we can use data when we try again. So you're going to let this dry and once this dries, we're going to go ahead and paint the hill that's below that. Okay. One more thing that you can do whenever you feel like, oh, I feel like I added too much white or I feel like there's not enough. But if you feel like you've added too much white, you can take the darker color and just brush over some of the white regions that you want to hide. That we will be able to hide those white regions. It wouldn't be that sharp. So you can always go ahead and fix their mistakes based on things you don't like. Next, I'm making a mix of sap, green and black in the same puddle that I had, the blue end, basically going for a really deep green shade. Do didn't want to use black directly. That's when creating a mix which is very close to black, but using the colors that we have in our palette already, that is based on the colors of the sky, based on the colors of the mountains, et cetera. So I'm just gonna go ahead using my round brush. I'm going to just create the outline of the hill that I sketched on the mountain that I sketched. And again, using the same method of adding a little bit of water on our brush. I am going to just blend out the whole thing and fill up the entire space that is above the horizon line. Right now. If you feel like, oh, the line is not straight or it could be a little bit more straight. Go ahead and make sure that the line is straight at this moment. Once you're done with that, you are going to let it dry. So be very, very careful around the era, where is, where the horizon line is? And what I'm gonna do is while the paper is still wet, I'm going for a green mix, which is a lot more greener and lighter. I'm going to go ahead and add these random strokes in different directions, vertical strokes, and a little bit more like strokes that are closer. I'm going to add them especially focusing majorly in the middle part of my paper, because that's exactly where you're seeing it. The left and the right ones are going to get covered with trees that we have to add. Focus majorly in the middle. I'm just adding some strokes of the greens to shoot different shades of green in that era. So you can see how the green is popping up. Once it dries, it'll be a lot more visible and a lot more. It'll make a lot more sense why I've done the green. Anyway, I really like the way this blend looks. I'm going to let this dry. And in the next lesson we will be painting the road and the details of the trees on the side 17. Day 4 Part 2 : Scenic Road: Alright, so now that are either above the horizon line, it's completely dried up. We're going to focus more on the roads and all the details of the trees on the side. So let's start off with third road. Now, when you're painting the road, you have to keep an account that transition between the different shades. So let's say we have a darker gray color, which is a mix of my black, my Prussian blue, white. And I'm going to make another sheet which is lighter. So you've got two shapes. One is going to be deeper, mix of Prussian blue, black, and little bit of white. And the other one has more white. So the area that is right below the horizon line will be lighter. And as you come down, you will have to bring in the account for the deeper colors of the road. So I'm carefully going ahead and applying the lighter gray color first. And you can see how I'm moving in the sort of way in which the road fluids. So I'm making the strokes very similar to the way I made this sketch. If it's more slanted, I'm going to make the brushstrokes exactly in that manner. In the center, I'm going to make my brush strokes are lot more straight, going upward. And then towards the right side, I'm going to make the brush strokes again moving, slanting towards the middle. So we have to bring in the account of the direction of the brush strokes depending on the way in which the road fluids. Now if you followed me in one of my classes for the autumn roads, I have spoken a lot about the details of the roads there, but if you haven't, it's okay, you can watch that class after this as well. In that class we're focusing majorly on to roads. So I've spoken a lot in detail about that. In this class we're doing only one road paintings. So that's why there's not a lot of information about the exact ways in which you choose that, etc. But I'm still explaining or the ways in which you go about it. So whenever you're painting roads, It's like you have to work in maybe one or two layers even though you're doing it while the paint is still wet, you will have to make the base layer first and then start adding lighter and darker colors depending upon the way in which you want the colors to flow. Right now, I'm going with a lighter shade of gray and as you can see, I'm just brushing it over the previous layer that I added. And then I will darken this, which means I will add more black into the white paint. I'll also add a little bit of blue into that. And then add in the Dockers darker colors, blending it with the previous shade that I added. So you will have to do this a couple of times until you are pretty much happy with the shade of the road. Now, you don't need to get an exact blend, a very even blend or anything like that. That is not necessarily, but you still have to get the colors to blend into one another. Even though there's tricky, even though there's a patch of white in the darker section and all that, that's completely fine. But the road should look like it's slightly blended. There should be a little flow of that seamless finished in the road. That's very important. Now the next thing that I'm going to do is load up a little bit of the orange color. And I'm just adding that into sort of play around with the shades. So I just went ahead and drop that in, focusing majorly in the area right below the horizon line, that little section, the narrow part of the road, just bringing it down, sticking it down and adding some textures towards the bottom as well. Just to show that there is the reflection of the sky on the road, the mirage that we see that playing around with the colors and just adding different sort of streaks. I'm also adding streaks with the darker color, which is my black shade. And I'm doing this using the dry brush technique. I'm just going to go ahead and add in streaks like that. Again, keeping in mind that I'm flowing with the shape and direction of the road. That is very important. You can also do this with a lighter shade. I'm also going to go ahead and add some light streaks. Now what we're playing around is the texture. So we are going to add in some textures on the road so that the road is not flat. The concrete does have its poorest and I wouldn't say porous, but it has a lot of the granulated kind of look to it, even feel to it. So we can play around with the effect using different textures of different colors. So now that we're done with the road, we're going to let this dry. And then we're going to work majorly on the trees that we see on the left and right side. I'm going to go ahead and load my round brush. So the same round brush using the same round brush I'm going to go ahead and start painting the trees. Now we're going to work with the trees in different layers again. So starting off with the darkest color of the base, which is a mix of our sap, green and black more towards the darker side, right? This is the shape that I'm going to use. You can use a slightly thinner consistency of it, but I still wouldn't suggest that you use a T like consistency. We still want it to be in this milky consistency so that it's still opaque, but at the same time, it's not too thick that you are having trouble moving the colors around should be easy to move the colors around. We're going to be working in layers. Let's go ahead and make that milky kind of consistency. And using that color will go ahead and create the base layer. I'm just gonna go ahead and load up that shade and apply it all at the bottom starting from the whitespace that is touching the road. Using that, I'm gonna go ahead and just start moving and filling in the colors. Now for the sizing of the trees, the trees are going to appear a lot more smaller in details when they are closer to the horizon line, when they are further away from us. So the details of the trees are going to be a lot more smaller. But when we're working in the details that are closer to the observer like we are right now. The sizing of the tree is going to be a lot more picker, right? Because we're trying to bring in the concept of distance in our painting. The trees that are more towards the left side of the paper are going to appear bigger as compared to the trees that are almost reaching towards the center of the paper. Let's keep it like that, right? So there'll be a lot more details in the trees that are on the left side. Right now as you can see, I'm going to go ahead and make these branches and a little bit of details for the leaves as well. Like I showed you in the brushstrokes lesson, using a similar concept, I'm going to go ahead and start painting these branches and leaves us just bringing in the effect of branches and leaves, even though I'm not bringing it all the way to the bottom. And the remaining part of the bottom is wherever the whitespace was, it's a lot more covered, right? It's a lot more opaque. So you'd be filling in that area completely with the, with the color, filling it in solid. And then working in layers to bring in more highlights in that era for the different our branches and leaves and things like that that we want to add. Right now, I've done this much and now that you are done with that little area, you're going to go ahead and fill that in with the remaining of the black paint. Just color it in solid, just so that you have one base layer to work on. And then on that you will add more details using your lighter green shade. Right? So now that we're done with the base layer for the left side, we can work on the base layer on the right side as well. One thing that I'm doing here is while the paint is still wet or slightly wet, I'm going to go ahead and add in that green that I was talking about, which we sketched out earlier in the lesson. I'm just adding in some green bringing that effect before it dries. So just some random strokes here and there. Just some random strokes in all different directions. Honestly, no thought was involved in this. I'm just trying to play around with the color to bring in that effect that this area appears to be a lot more fuller. It has a lot of foliage in that area. There are a lot of different shades of green. I'm receiving more towards a shadow and more. And some are receiving more light, right? So this is the details for the left. Now we're going to do a very similar sort of thing on the right side. So I'm going to go ahead and make a darker green mix very close to black, just like we did earlier. And we are going to have a similar effect. I wouldn't say it will be a mirror of what is on the left. We want to still bring in that natural effect, the net, what's on the left is not going to be on the right specialty in a jungle type of fraud, right? The plants will be different. Plants will not be saved obviously until you are actually leasing it there in the man-made sort of broad side. But if it's more towards the natural side, they will appear a lot more uneven. On the right side, I've gone ahead and added a hint of the dark green first. So it's not black. And then above that I'm going to add in the black color. I've preserved that green in so that I can add in some lighter details on it afterwards. And I've added the black on top of that. So that one little section that we sketched out, we are adding a darker shade of green. And above that, we are adding are almost black color, which is a deep, deep shade of green color. Now very similar to the different types of trees we had on the left side. We are playing around with different sizes of trees on the right side as well. If you are someone who really likes details and wants to really put into account how the trees look on the left and right side. I will suggest you look at the reference picture and observe these trees for yourself and add them depending on what you see. So I sometimes look at the reference image and try and capture the essence of the painting while still taking full creative freedom there to change things based on what I want. Make these strokes based on what I want. I would probably not. I'm not that patient enough to add an exact details. I liked adding details, but I would not go ahead and add the exact details because I do not that just feels like coffee and trying to paste the exact details in. And I'm not patient for it. I love seeing the two artworks, but I'm not patient for it, so I just look at it and try and capture something similar into my building. Maybe the shapes of my trees will change. The colors, sometimes might change, the colors of the sky might change. I might add clouds if I feel that's missing or I might neglect some clouds if I don't like or if I feel like they are too difficult for me to achieve. And I might draw anything if I'm not confident enough. You have full creative freedom there to change and do things according to the way you like it. So I've gone ahead and added the trees on the right side, played around with the size of it. So the ones towards the center, a lot more smaller compared to the ones on top. Now this is it for this lesson. In the next lesson, we'll add more details into our painting 18. Day 4 Part 3 : Scenic Road: Alright, now that the base layer is dry, I'm gonna go ahead and work on the markings of the road, right? So you've got two white lines on either side of the road. And we have two lines that are close to one another in the center of the road right? Before you go ahead and painted directly on British or the sketches covered your basic pencil sketches cupboard so you can go ahead and draw it out again just so that you have the placement, right. The first color that we're using for the white lines is bright color. So I'm going to go ahead and load up my brush with that shade. Now, you can use a smaller size brush if you're not very comfortable with playing around with different pressures, we can use a smaller size brush. I'm using my size four brush here and just releasing the pressure as we get into the center of the road. So the ones that are that is closer to the observer will appear bigger, more detailed. And as it reaches the center of the paper, you can see how I've Almost added very light pressure or no pressure on my brush and just kind of collided my brush over the paper. And you can get very thin strokes. You can also try it out on another piece of paper before you go ahead and put it in your painting, if you're not confident enough. I understand that it feels very overwhelming to add your details where you have to play around with the pressure of the brush because one wrong move and you feel like you've ruined your paintings, you can try it out. If not, you can use the smallest size brush, switch brushes in between as well. Whatever comes more naturally to you either way in the end, practicing on painting a lot. That's why these challenges are really helpful. You'll learn so much and you also get to achieve different brushstrokes and different pressures and it doesn't grow and your whole journey by painting, repeated painting, constant practice makes a huge, huge, huge difference. Next color that I'm using for the center Rhodes is a mix of my yellow and white paint together. So I'm just making a very light yellow sheet here again, making two sets of lines that are going to be closer to one another. Make sure that you're getting the mark and dried. The pressure on the brush will be a lot more when it is at the bottom. And as you reach the center of the paper, you will release the pressure. Almost appear as a single line. The next, the one next to it also is very similar. You apply more pressure when you are closer, are at the bottom and as you pull up your financials and joining it with in line next to it so that it looks like one single line. Because at the distance, when it is getting into the point blank where you cannot see the road anymore. You're not going to see two separate lines. You will see them as one line because they can just merge into one another at that distance. That's how it appears to us to play around with that. I've just done the same thing. I've made two lines that are very, very close to one another, but they almost look like they are together. So this is the marking for the road. Once that dries, we will work on the details for the trees. Now you remember how we created a base layer, right? We've placed in all our greens where we wanted it to be, even at that area which was on the hill. So we've got kind of like a view of the hill and we've also got some green in above the horizon line. So you can play around with the different shades there to show that there are so many different trees and there are different colors of green that we are able to see that in this picture. So I'm going to start off with a mix of green and black. But this time the grain is a lot lighter as compared to the previous layer so that it shows up a lot more. I'm carefully going ahead and adding some strokes for the plants. Now these plants are very similar or the brush strokes are very similar to the ones that we did in project two. If you followed me there, you know exactly how we're bringing that into account. So we're only focusing on the outside area of the structure. So let's assume that there are a bunch of different trees, right? One tree after another. And only the ones that are facing towards the road are receiving the light. Okay. So only the ones that are facing their order receiving the light. That's why I have, I've made one little section for the brushstrokes and then left some darker color in, and then made another one, then left some darker color. In. This way, I'm able to capture that view where I want to show that the trees are facing the side. And the ones which have the darker side shows that the tree is like, it's like cooked. This kind of like moving inwards. If you're not able to see a lot of those details, That's how you like play around with the different colors to bring in that effect when you're painting by your show. Depth and lights and shadows. Now what I've done is gone ahead and added these random strokes on top of the greens that I laid out in the left side as well. Just a few more detail brushstrokes because over here, because we're working on a darker surface, these brushstrokes are going to be a lot more evident They won't appear to be blended with the previous layer. They will show up a little bit more. You can go ahead and add indefinite, definite strokes and exact strokes that you wish. I'm just going to go ahead and add them in this left and right manner. And they're just all over the place. There's really no structure that I'm thinking of. I like to make these brushstrokes kinda funny close to one another, but also keeping in mind, they have to be flowing in different directions. Obviously, it has to flow in the different direction based on what the base layer is. But still it will have that natural free flow in it so that it doesn't look very structured. If your tree looks very structured, very even, and very structured, they do not appear to be very natural to the eye. They do look man-made or you wouldn't see trees like that in the nature. We have to make sure that we are working in a very uneven format here to bring in the unevenness of the nature. Next, I'm mixing green and black again, but this time more green, very little black that have come to this almost very close to sap green, but it's just not as bright as Sap Green, I would say still a little bit toned down version. It's a little bit more darker. And I'm going to go ahead and just add highlights. So let's say the base there was like 100 per cent of your structure. The second layer that I added on top of it as like 70. So now the brush strokes that I'm making are only going to be about 50% or even less than that, right? So just kind of like think of these as highlights. So very, very little strokes, very, very few strokes here we'll add on top because you have to show all the different layers that you've made. You cannot cover the layers. You have to keep in mind that you're making just a few strokes with this color to not go ahead and cover the previous layer and the layer before that, you can add more, few more definite strokes on top of it. But still keep in mind that you want to show the layer that's before that. Right now, as I make this brushstroke, you're really able to see the concept of different trees showing up, right? So there is a little bit of depth in that area you can distinguish this is a tree, this is a tree that's next to it. This is a tree and the area that does not receive light is almost black. And that era, there are trees, but you're not able to see the exact brush strokes of the trees in that area. So that's how you play around with the different lights and shadows for a folio, especially where you have a lot more compact foliage likely have on either sides of the roads. So we've got two very compact section. Section, right? We started off with just a blank surface with just black paint at the base. And right now we're just trying to bring in that effect of different trees in play by just playing around with the brush strokes and the color using the shade. I'm adding in some highlights as you can see. If you wish, you could also go ahead for another layer on top of this. So that will be a slightly more lighter shade of green. Obviously, that will show up a lot more. You could do that as well. I think I will stop with this color being the final layer for this color. For the trees. If you wish, you can go one shade lighter as well. I really like the way this looks with just this color itself. I don't want to add in anything like that. I've also gone ahead and added some strokes on either side of the road. So that flat surface where the road meets the center of the paper gets blended out, just has some strokes and trees on top of that so that it doesn't look that straight and just looks like the tree. The root is just lying there and ends there. So when you add in cheese, kind of like a canopy on top, it shows like it's endless. So I'm just going to be the tape off. Forgot to talk about that feeling. The tape of what a wonderful feeling. This is our painting. Before we go ahead and have a closer look, make sure that you're assigning your painting is very important. It feels so good when you get to assign your painting. All the students that I teach love, love, love signing their paintings in the end because they've used so proud of all the hard work they've put in, the work that you've put in all the color play that they learned about. So everything is just so exciting when you see it altogether with those beautiful white edges. I love the mountains, Loved the road, love the trees on either side. I think it was a really, really fun project to paint. I hope you learned so much from this class project. This is the four. And here's a sneak peek of what's coming on D5. So see you soon. 19. Day 5 Part 1 : Clouds & Reflections: Hello, welcome to day five of this challenge. Here's what we're painting today. Let us discuss all the colors. I have cadmium, yellow, I have primary read by now you know how we're using credit appetitive shades, right? Next, I have Prussian blue. I have burnt umber because we'd be needed that for the darker colors. I have, jet-black and for making all the lighter shades, I'm using permanent white. You can use titanium white as well. But all in all this is the set of the colors that we're going with that let's get started with the sketching process. So here I've taped on my paper and taken all the colors out on my palette. And as you can see on the left side of the reference image, we're going to start off creating the base sketch. We're going to have a horizon line that is almost pretty much at the bottom of the painting or bottom of the paper. And then above that we've got a whole lot of clouds to play with and a blend in the sky. And below that we've got a little bit of reflection of that on the lake. And then obviously in the foreground we've got the trees. I'm roughly sketching out the horizon line and right above that, I'm making that shape there all the sort of like foliage or a little hair or just a bunch of trees in that area. Something sketching that out roughly based on the reference image. You can draw the reference. You can download the reference image from the resources and projects section just so that you have it as well. I'm also making a bunch of different sections in the front. These are not really little hills or something. It's just a little ground space that's above water, right above the shape of hills that I drew are, let's say, let's call them a forest. Forest area that I drew. I made a sun above that just to know where the placement of the sun. And I'm just sort of playing around with the shape of the forest of what is above the horizon line, just roughly. I'm also marking all these little dark or black spaces that are supposed to keep in the painting. Also sketching out the foreground. Now, in the foreground we've got these two beautiful half pine trees. They're not really fall, not really trying to get in shape, but they're kind of like those little broken old pine trees on the side with caught some elements that we need to put in as well, just some branches and leaves, just some details. And the main focus is going to be these two trees that are sort of behind one another. The second one is slightly shorter because it appears to be slightly behind the one in front. So you don't have to sketch out all the details right now because it will get covered. That really does not matter here. Roughly plays out the elements. And then we can dive into the painting process. There are three main pine trees and as you can see in the back wheels to have a small little tree without any leaves on such a sketch that out as well. But this is going to be my basic sketch that I'm going to work with. Very simple, not very complicated. Once you're happy with the way a sketch looks, you are going to dive right into the painting process. Alright, so let us start with the sky first. I'm going to make a bunch of shades that I need, keep them ready and then dive into painting it on paper. I don't have to keep mixing the sheets. The first set of color that I'm making is like this orange color, which is almost like a deeper orange. I wouldn't call it Just orange. It's still slightly model versus the red orange, I would like to call it that makes my red paint and yellow with a little bit of white and swatch that out for you. Next year that I'm mixing is my yellow mixed with white. So the yellow is a lot lighter, right? So you can see here's a swatch of the yellow. It's a lot more lighter in comparison to the orange that we made. And I'm going to completely clean my brush, get rid of any yellow or red that I might have. Next, I'm making the blue shade, which is a mix of Prussian blue, black, and white. So not just Prussian blue and white. It's pressure in blue, a little bit of black and white. So here's the shade that I have. These three shades are going to act as the base color on which you will have the mountains, right? You'd have to create that background wash first. And then we add the mountains on top of. So I'm going to start off with the orange, red orange color or a deeper orange color. That orange color is going to be right at the Asia, closer to the horizon line. And you'll also leave the space around the sun sort of empty because that's where I want these son, I'm in the yellow to be. You can add in a little bit of the area, but I'm still leaving a little bit of that space empty with a yellow for the yellow because I want that area to remain a little bit lighter as compared to the sides because the sun is going to have a glowing effect. And that's going to create a little bit of lighter shades around that area. Now above that, I'm adding yellow. So starting from the center of the sun right around that area and I'm just going to proceed and add the yellow around that and just blend it out. So as you go up, you can also go for a lighter shade. We'll just add a little bit of white into that just to make it lighter as you transition upwards. Because as the transition upwards, we've also got to work with the blue color, right? And we know that you cannot blend yellow and blue together because it's going to make green. And that is not something that we want in our sky. So you can get on with a lighter shade. Now what I'm going to do is add, make an even lighter shade of yellow, then add that in like I was talking about. Just so that that transition when you're painting, it has a lot more smoother and a lot more seamless. I don't want any harsh lines and my paintings, and that is why I tend to go with the lighter shades. And that makes the blending process a lot more easier. Right now the colors look like they're all over the place, but we're going to blend everything with each other and make the blend a lot more better once you've laid out the colors. You can also proceed with gouache in that manner where you put in the colors and then using just a clean brush or a little bit of pigment, you can just blend and move the colors around because it's very easily react, reactant, react to football. Or no, that's not the right word. You can easily reactivated with water and that makes the mix, the colors just move around. And that's the best part about Coors. They can move the colors around. So you can just put the colors, clean-up brush and just using water or even a little bit of pigment, you can move the shades around and blend everything into one another. Now the idea behind blending yellow and blue together with white is that that middle space that we have gifts us time and space to blend them together without creating green. So by now, you already know the process, the drill of how we have to blend it with white. And even now like if I were to give you a painting or a reference image of your own to do it. I know you'll be able to look at it and be like, oh, we have to blend it with white and this is where we're using light. So that's how these sense of color mixing and the techniques will just naturally come to you if you can practice and just keep painting. Now, coming back to what I've been doing here, I have just added a little bit of yellow and white on my son and lightly blend it out with the background so that it kind of just blends in and doesn't look like those harsh lines. Now whenever you want to a blend something with one another, I personally like to add very little pressure on my brush and just lightly brush it across. Now that what that does is when you're not adding a lot of pressure on your brush, you don't end up creating very harsh lines. Your lines are lot more smoother. You also have opportunities to rectify a mistake. If you feel like, oh, it's too hard thing and just easily use water to blend it out. So what I've done here is I've added a little bit of orange and the yellow as well. Lightly. Just I was talking about and just blending it into if you feel like it's too much orange, just take up a little bit of yellow and just blend it in. I am really liking the way the blend of the sky is coming around. We've got that beautiful glow around the sun. And we've got the blend between the orange and the yellow does not look very harsh to the eyes as well and it has nicely blended out. We've also got to add a lot of clouds in this layer. So it's okay if you have some harsh lines, especially on the areas where we have the clouds, we're going to add the clouds which is on top in the center. But either way overall, I'm really liking the way this looks. And once that's completely dried up, we are going to brighten up the space for the sun. I'm adding a little bit of white on my round brush. It is a mix of white and just a very, very tiny hint of yellow. You can also skip the yellow also, using a clean brush, I am just going to go ahead and smudge out the edges because I don't want that sharp edge. Once I do that, I'm just going to go ahead with the same shade and add it in the middle. Because the surface around it is wet, it will blend in with the water and not create a harsh circuit. So this is what you've done for the sun. I really like this now, in the next lesson, we will add in the clouds and two more details. 20. Day 5 Part 2 : Clouds & Reflections: Alright, so now that our base is completely done, it's time for us to start adding the clouds. Now if you're not very confident about adding clouds, you can skip the process as well altogether and just move ahead to painting the forest that is above the horizon line and all the other details. But if you want to make the clouds follow me along here, I've made a shade that is a mix of Prussian blue, black, red, and a little bit of white on my palette, I ended up adding a lot of whites and still going ahead and making the color a little bit darker. We're going for a very, very deep shade of blue. Okay, That's our first base color. We will add darker colors on this and lighter colors on it as we move ahead. But this will be the base color that I'm working with. Now, the brush strokes that I'm going to make are going to be the ones that I showed you in the brush stroke lessons where you just kind of make these horizontal strokes right next to each other. And the consistency of the paint also is towards the thicker side. It's not the normal consistency that we use. It's a little bit more towards the gel or creamy consistency. But still it's not like the butter consistency which is directly from the tube. It does have a little bit of water. So you can see how I am making these horizontal lines and working around the shape of the clouds. It's much, much better to observe these clouds from the reference image itself and then add it. I would suggest you to do that while following me along. Obviously, that will give you idea about how I end up interpreting these clouds in my painting. And obviously when you yourself see the clouds, you self, you yourself observe the reference image and then do it. It will help you build up the practice and help you understand it for yourself. So when you come across a reference image which has these clouds and you really like the way it looks and you want to add them and not skip them. You can apply these techniques and get the same results. Alright, so I'm just looking at the reference image and trying to follow a similar composition or the structure for the clouds. Even though mine might look a little bit different. I mean, it's obviously going to look different, right? You won't be able to capture the exact replication of the reference image. It's completely okay, but when you observe it, you learn a lot about the colors, the way the darker one merge with the medium shade and the lighter shades and all that. So I've got two layers, let say two layers of clouds. One below the other. Left side being thinner, right side being thicker. It's all just a bunch of horizontal strokes and I'm just laying it one over the other wherever I want bigger ones. I'm going to lay them closer. A lot more compact and the thickness is a lot more. And wherever I don't want those, it's just small thin strokes and just show us that that cloud loses the shape and it's getting a little bit. Now. I'm not going to add any clouds above around the layer for the son that I have. I'm leaving that empty because I want to show that glowing sun and all my clouds are going to be around that cloud itself. So as you can see, I've added this cloud very close to the sun, right? Which means that we'll have to work with the lighter shades. Jolly well in this area, because the sun is going to cause that orange light on these darker clouds. So we will have to work on that very carefully. So make sure that you're not going all the way inside the yellow that is around the sun. And you want to leave a little bit of space so that you're able to add that orangey shade for the lighter colors. Now that I'm done with the clouds over here in this area, I really liked the way they assess. And along with the bigger shapes that you have, the more prominent shapes, you should also add these thin ones that show kind of like these floating clouds broken from the bigger shapes and just floating in the sky, right? So you have to add those as well. The next shade that I'm making is actually a mix of the same colors. Just has a little bit more black in it. It's a lot more deeper. And I'm going to add the darker color above the strokes that I just made. Now what will do basically is add the darker colors, add the lighter colors. And then using a clean brush will blend all fit together to get that nice seamless effect in the Cloud so that every layer kind of looks like it's together and not all over the place. So I've added that almost towards the era that is slightly above the sun. And then using the darker, darker color, I'm also going to go ahead and add some more textured clouds on the top. We don't have a lot of clouds on the top is just a lot more like Showed a broken clouds, but the brushstroke that I'm making still remains the same. So you can see how it's these nice horizontal strokes. Even though I'm using it like kind of like perpendicular to the paper, I would say, are at that angle. The brush stroke is still wet, like moves in a horizontal manner. When you move around brush in that horizontal manner, you can create this sort of effect for the clouds. So it's very important to know how the brushes moves. So I would suggest that you try this out on another people if you're not very confident about it and if you want to just roll with it, leads to feel free to do that. It's only when you do it and complete your painting. You understand, okay. This is how it happened. This is what I did and I should try it again in almost all my buildings wherever you see clouds, go ahead and add it. Don't be shy. You are all here to learn something new and explore different techniques together and find out what works for us and if that interests us in any way. Alright, so I really liked the way the clouds look over here. You can pause. You can pause here and just go ahead and do the clouds before moving ahead as well. So now I'm making a mix of red, yellow, and white. I'm going for a very deeper orange color. There's a very little amount of white in that mix. We want to keep this color more towards the orange side, like the deeper orange side. So that, that glowing effect kind of merges with the blue that we have. If it's very light, it will not show up that, well. It would not be a lot in harmony with the colors that I'm going with going forward. They wanted more towards the orange side. I'm going to go ahead and add these orange colors around the shapes to smaller shapes that we made. I'm just covering the area that is closer to the sun. You can also add some more clouds if you feel like it could use some orangey clouds at the bottom or near where the sun is. You can go ahead and do that as well. Adding some more floating clouds and add that right above the sun as well. So the ear that is around the Sun receiving most of the light from the Sun will have the orange color. And the area, all the other clouds that are above that will receive the light, but it will be in the same color that we already used for the clouds. Just a lighter version of it. So I've just added a little bit of white into that color mix. And I am adding that strokes right under the strokes that I made. You can put some in middle as well so that it gives that fluffier effect in your clouds. But majorly, I'm going to focus that in the bottom area of the shapes that I need. Now once you're done with it, you can see how all the clouds are, all the brushstrokes that I made really look like they're lying all over the other. The very harsh, the strokes are very hard to get rid of. That. You, all you have to do is load up cleaner brush, loaded up with a little bit of water, not a lot. So you just cleaner brush, get rid of that extra water, and then just move the paint around to reactivate the paint and just kinda move it around so it blends with one another. You can also blend the bottom to merge with the background layer so that there's a soft effect of the blend between the clouds. And each time that you are doing, let's say you're doing light blue and dark blue. So you want to blend it out and then clean the brush, wipe your brush. So there is a lot of movement are a lot of cleaning the brush that is involved along with wiping your brush each time you go ahead and clean your brush because it's very important. Otherwise you might end up loading up the shades in a way or put, placing the darker colors in the mitosis which you don't want. So all I'm doing here is just blending the shades into one another very, very carefully. And I've also blended it and it's kind of soften some edges because I felt that was adding a very, very nice effect in my clouds. So sometimes we end up having very harsh looking clouds. So you can soften them by just blending out the edges and very lightly, very lightly or not adding a lot of pressure, just the tip of your brush is kind of moving the paint around, getting it to blend with one another. And then you just softly blending out the edges or the harshest strokes as well with the background color. So I really liked the way the clouds are looking right now. They kind of look blended with one another, but I'm still able to distinguish between the lights and darks. I'm also going to go ahead and add in a little bit of white in my in my son area and just blend it out. So I went ahead and added some orange which I didn't like. But you can go ahead and add in just white and smudge out the edges as well. Like I told you guys before, I am experimenting these along with you. It's not like a practice this I am just doing kind of like on spot demonstration of what I'm seeing and blending it and doing the entire process. As is, I'm not practicing or anything. And it's just a sort of painting process. I've gone ahead and smushed out the a locus or was not liking that yellow. But I really liked the way the yellow actually looks once it's smudged out. The yellow I felt was too light, so I wanted to deepen that. That's why I was adding all of that trial and error that was happening. But I've gone ahead and added the white on the yellow and I really liked the way this looks. I'm not going to change anything here. I'm going to let this be, It's going to dry and then we will add the forest above the horizon line. Alright, so now that my clouds are done, you can see how soft they look, even though they are a very dramatic bunch of clouds. But they still has that soft effect. The glow around the sun looks really nice. Now making a mix of my brown and black together to get this deep sepia color. And you can also use sepia color and add in a little bit of black to darken it. But again, I am using burnt umber and my black color. I've gone ahead and added these vertical strokes to bring in that irregularity in the ship that is above the horizon line. And then I'm coloring in the other remaining bits using my round brush itself, just filling in the block. And I've loved that center space empty because that's where I want the clouds to go. Sorry, not clouds, the red color to go, the red of the glow of the sun to go. So that empty spaces there in that I will just load up my red color. You can also add a little bit of yellow in it. I'm just adding it right below and then blending it out with the color towards the sides. This way I'm able to create that glow that is received by the sun in that forest region that is right under it. So you can see how they're glowing effect is there, right? If you're not able to blend it, all you have to do is add in a little bit of the darker color in case you feel like you're black color or the dark color that you're adding God, dried-up is after reactivated or add in a little bit of the darker colors again. I just move the red and black couple of times so that it merges into one another. One another trick is to just use your clean brush and clean wet brush to move the shapes around. I really liked the way this looks right now. So you're going to let that dry and then we'll do all the area above or below the horizon line 21. Day 5 Part 3 : Clouds & Reflections: Alright, so now that we're done with all the area above the horizon line, we are going to do the reflection on the lake that is below the horizon line. I'm going to start off with the orange color that we had to be almost kind of like going with the flow of the shade of the background that is above, right? So I've got orange that will transition to the yellow, which will transition to the blue. So I'm going to move in that same format of applied orange, right? Carefully below the horizon line, right where I want the sun's reflection to be. I'm just going to go ahead and add in some yellow just to sort of place in that color. And then we'll add white on top of that, added yellow, blended it out. And then I'm going to add a little bit of a mix of yellow and white and then blend that in again, leaving that little center portion where the deflection is untouched. So I've just added the yellow. I'm going to let it sit there. We'll blend it out later. Now I'm adding a little bit of the blue shade. I feel like it's a little bit darker, but that's okay because we're also trying to show that there's a mix of the deeper blue, which is of the clouds, right? So I've just added that color and I'm blending it out again using white, some blending yellow and blue together using my white, white paint here. I'm just going to blend all the colors into one another so that sort of looks seamless. Now, what one thing is that you can do is you can use your flat brush in the thinner side or like, more like the precise side of your flat brush which gives you slightly pen strokes. And you can add that in and sort of go over the yellow that you just made. Just to show that it shouldn't look like the yellow is just sitting there. It has to look blended with the background as well. That's where you can create a couple of strokes over that, so it looks nice and blended while the paint is still wet, what I'm doing is making a mix of white and a little bit of yellow. Just going in a zigzag manner and adding the white strokes carefully under the sun. So you just have to go all the way till the line, like in a line format and zigzag stroke manner. And you're going to reach up until the blue and just blend it out. So to blend it out, I'm using my clean brush, just a bit of water and clean brush. And you can clean the brush and wipe the brush as you go so that you don't load up a lot of the white paint and move it a lot. I really like the way this looks right now. Once it dries, it'll dry a little bit lighter and everything will look nice and blended together. And then you can add in some more highlights to this. This is what the section looks like. Dried up. I really like the way this looks. So what I'm gonna do here is add in some of the shadows of all the reflections of the area that's above the horizon line. I'm going for a very, very thin consistency. So very similar to what we did in the first class project. You're going to repeat that same process. So you add in the strokes. Be very careful around the area that's right under the sun. It has to be slightly lighter. So I've added a bit of the orange color as the reflection there. And I'm just going to carefully kind of mimic the shape that is upwards. And then using my clean brush and just a bit of water, I'm smudging out those harsh edges. So they kind of look like they are blended with the background. You can see how the thin consistency of the paint really helps. I'm loading up my round brush with some white paint and just adding it in that horizon line just to create that separation between what's up and what's down. And you can see how I'm also adding a little bit of texture using the same brush, very slightly, not so much texture. It's very similar to the first-class project, but not in a lot of ways. Just a little bit of structure I've added. Now that we're done with the reflections and everything, I really liked the way this looks. I wouldn't want to do anything extra to that. But if you feel like adding some more strokes for the sun's reflection, you can go ahead and do that. I'm creating a mix of brown and blacks were really, really deep shade, very similar to the one that we used at the horizon lines. Well, I'm going to go ahead and create my foreground right now. I'm just gonna go ahead and make the structures a very uneven shape of the ground, right? So I'm just going to create that structure and just fill in the color just so that we get a nice flat layer in that section using the shade. And I'm really actually liking the way this looks. Everything looks so structured here. Now the next thing that I'm doing is creating these grass and a little branches and twigs that are at the ground level. So I'm going to give you a closer view of this so that you can really see how I'm placing it. Now it's just a play about different sizes that you add in different directions. You can see how it isn't all look like grass. Some have little branches, two or three branches connected with one another. And they're all flowing in different directions. They are of different sizes as well. So the game here is to really add a lot of various different strokes At the bottom, when you look at the reference picture as well, you'll really see how they're all moving in different directions. I'm not really following the reference image here. I'm just adding these strokes and whatever will be I feel like. But you can also look at the reference image to really understand where the placement is and how the placement, just in case you want to add a little bit more perfection resides in your painting. So I've just gone ahead and added all the way at the bottom that I covered the entire section, the ground level so it doesn't look that flat. When the trees come on top. Once you're done with this, you can also add in some grass and some dollar shapes around the one that you just created. I felt like it was missing that little variation and it looked all very patterned. So a lot of times, you know, when you're creating something, you can really tell a little bit of difference and you can fix it. They added some of those drugs and I were working on the layer for the, for the lakes, all those little grounds and grass that grows on top. I'm just going to create that as well. So I've made some strokes and using a clean brush, I'm just going to smudge out the bottom with the base layer or that is your water layer. I'm just creating the shape that I want. Once I'm done with that, you can either add a glaze below that just to show that reflection, or you can just use water to smudge out the base. And it will just automatically create that effect. You can see how I'm doing it here. I'm creating the structure of the land for a bit of twigs and grass and things like that. And then I've just added a little bit of reflection here using the glazing method. And then I'm just blending it out. I felt like that was too much. That's why I had to wipe it off. And I felt like just reactivating the base and smudging it out with the lake. Does the job. It's enough so I don't have to add in a lot. We're here again, it's very important to control your water, makes sure that you're wiping off the extra water so that you don't get a lot of water on your painting, then you're going to leave it to dry. Really, really like the way this looks. And now our goal is to start working on the trees, right? So we've got to find ways to majorly focus on one being slightly in front and one being at slightly behind that tree, right? So again, made the same mix. I've made more of that same x, which is our black and burnt umber mixed together. You can draw a tree again. I'm not going to draw it again because I feel like I can just replicate what I'm seeing are just at least understand the placements of it. But if you are not confident enough to do that, please do dry it. There's nothing wrong in that. You can just place your trees again and then go ahead and paint it. Once I'm done creating the trunk of my pine tree, I'm going to start adding the shapes around. The shapes around it are pretty much like having some, like a stem and some leaves and some random strokes towards the left and towards the right. And it just follows that pattern all the way to the end. Now over here, the tree is different because it's not a full tree. I would suggest looking at the reference picture if you are painting along with me, or if you're painting along with me, you can watch me create the whole structure of the tree. And then you can pause the video and you can add the strokes depending on that. Over here, I'm just playing around and trying to replicate the shape of the tree that I'm seeing in the reference image. So this one is not all that structured as compared to a lot of different pine trees. Pine trees come in so many different shapes and sizes. So we've got really full ones, you've got really broken ones, uneven one. So there's so much variety. But the technique to achieve it always remains the same. Obviously, changes with the type of brushstroke or the type of effect you want on the tree. But the way in I'm making my pine trees generally, I follow the same technique. And the only thing that will change eventually is the structure of the tree. Sometimes you'll have a more structured way. Sometimes you'll probably have a long branch protruding out, but you will have a thinner branch below that. There are lot of different place with the shapes and sizes. So keep it, keep that in mind when you're painting, look at the reference image. Follow me along, pause and just try and replicate what you're saying. I'll just tell you what the way I'm making I'm making some branches on the left. So I'm making the branch stroke on the left. And then I'm adding some random strokes on it that will replicate the pine needles. And then I'm also adding some structures in the middle to show that it's a three-dimensional tree, right? It's, it doesn't have stems only towards the left and right. It has an all around. So we have to keep that in mind. And then I'm going along with the shape of the pine tree as per the reference image. And I'm also adding some branches and some group can sort of branches at the bottom. And just going along with this structure. This is my first tree I'm going to replicate something similar for the one that is behind it, which is going to be slightly shorter. So I'm just gonna go ahead and do that. Now. You know, you've got a hang of it. The process is exactly the same. So I'm just going to keep quiet and let you enjoy this process. Good. Alright, so now that I'm done adding my secondary, I'm just going to go ahead and add in some more branches and details that I'm seeing from the reference image. Now, when I'm doing this, I'm just going to go and keep one thing in mind and that is to not go overboard because sometimes it's so easy to get lost in the details of these branches and add way too many. So keep that in mind. I'm also adding that slanted tree that was in the reference image, which just had branches. Now it doesn't have a lot of branches. Branches is just have a few definite ones that we are seeing. So you can go ahead and add that it's not too wide as well. So very narrow looking tree. So when you're doing that sort of brushstroke, keep that in mind as well, that you don't make it such a big tree. You can, obviously you can if you want to. But based on the reference image, I am going to keep the shape as I see in the picture. I really liked the way the site looks. Now what I'm going to do is add in some trees on the left. Alright, so you can pause the video here and follow me along for the branches that I've done. I've added the branches on the left side. So just a few branches and leaves around it, very similar to the brush strokes that I showed you in the practice lesson. Once you've basically done with the structure, like the main structure, you can also add in some details, which is you can add in some more finer details, some more final, final branches if you'd like to add and just have a look at it, feel the things that you should add. It's like a feeling that comes from within. When you look at it. Like maybe a few more branches would look good. Maybe a leaf shape and size would look good. So really just do what feels right to you in the moment. I always advocate for that. That it's okay if you're painting doesn't look exactly like the reference image, It's fine. It is your creativity and your imagination coming into play. So you are free to enjoy that in whatever way you want using whatever tree branches, shapes, and sizes you'd like. Once you're done with the painting, you're going to feel the tape off. This definitely has to be one of my favorite paintings from this challenge. I think it's about the colors that are used in this painting. A little bit about the way the clouds have turned out. They're turned out so well, like so much better than I expected honestly. Because sometimes clouds don't have that softer edge and I think it takes away because these colors are so contrasting, right? You've got blue clouds on a yellow background. So it's very important that you do it well. Otherwise it will not turn out well. But this one I feel like has turned out so nice. I'm so happy with the way this looks. What I'm going to do is stop here and I shall see you in D6 22. Day 6 Part 1 : Pastel Sky: Hello, hello, Welcome to the sixth class project. This is what we are painting today. And let us discuss all the shapes that I'm using. So I have Prussian blue, I have primary red. You can use crimson here as well. If you don't have primary red, I have cadmium yellow. Next I have burnt sienna. Next color on the list is jet-black or lamp black. You can use any black color. And lastly, I have permanent white. You can use titanium white here as well. These are the shapes that I'm going to be using for the class project. Now, diving straight into the sketch bit so you can see the reference image. On the left, I will be uploading the reference image under the Project and Resources section. You can download it from there as well. So in this painting, as you can see, I've got a lot of trees and branches and details of those thoughts. And at the bottom we've got a little bit of like a street view, I would say if you're at the street clicking up picture of the sky. So you've got a lot of trees at the bottom. Along with the trees. You've also got a few viewpoints of the roofs of the houses. And of course you've got the street light working out our sketch in that exact manner. So I'm just placing one vertical lines at the pole of the street lamp. And the other one, you can really see the glowing part of the light part of it. And of course, everything else in this image is all about different types of trees. If caught, a few pine trees and a lot other trees which don't seem to have a lot of leaves on them. So you would say that it's almost like early spring scene or a liter autumn seen something of that sort where the sky looks with a sunset is really pretty. And you've got a lot of trees without any leaves on them, so it's definitely not spraying and probably not summer as well. So you can just imagine the type of season that we're in. I'm just sketching out the exact details for the branches because they will get covered later on. So it doesn't make sense to sketch them out a lot. But you can just understand the placements of, especially at the bottom part of the painting. That's important. The one above, we can always change and work our way around the sketch depending on what feels right to us. So let us start painting. Alright, so for the painting process, we've got to work on the sheets first before we go ahead and start painting. If you've got a little bit of the orange color at the background, as you can see in the reference image, that transitions to a little bit of the pink and obviously the blue. So I'm going to take my flat brush and work my colors first. Make sure that you have your two jars of water ready because you will be mixing different shapes. So you want to make sure that you're cleaning your brush and giving them a double-edged rinse. The first color that I'm making is a mix of my primary red, cadmium yellow, and white. So I'm keeping the color more towards the pink side. So you can say a lot more often read as compared to the color of the yellow. Next I'm making a little orange colors, so it is a mix of red, yellow, and white. My primary red cadmium yellow and white. So when you mix them in equal amounts, you get a more orange shade. Shade is still, I would say a lot more towards the pink or towards the peachy color, but it does match really well with the shades. Next, I'm mixing the blue, which is a mix of Prussian blue, primary red, and white. Just to make the blue a lot more warm as compared to Prussian blue and white directly. This way you get that nice red undertone to your blue. And it just turns out looking really, really beautiful and matches with the harmony of the other colors that we are going to use. So I'm going to start off the painting process now that I have all the colors ready with me. So all the other times the blending that we have done is done enormous like a flat manner, right going left to right over you will be making the blend a little bit Angular. So I'm starting from right at the bottom where I had those roofs and those smaller trees of the viewpoint. I'm gonna go ahead and add the orange color over there and added a little bit of white as well just to lighten it up slightly. And you can clearly see how the blend that I'm making is moving in this angular manner. It is almost like the same sort of concept goes behind this type of blending as well. The only thing that's changing is the direction in which the brush is moving. Instead of going directly left or right, we're going at an angle. Now overused. I'm going to go ahead and add in a little bit of blue right above the orange. But I have made sure that the orange color is not that deep or the blue color is not that deep. So that the mix of the shapes that I'm making shouldn't be that prominent. You can add a bit of white to your color just to ensure that that is not happening. You're not getting a lot of the muddy color. But at the same time the shades are blending into one another. So you can always vary the sheets. The lighter they are, the more your chances of making the muddy muddy colors gets lower. So lighter shades will not show up that much with the muddy colors. But if the colors are very deep and in the natural form, which is not with me, not mixed with white, they tend to create a lot of the muddy mixes. I've left a little bit of space on the right side and added the blue in the middle because I want it to blend the pink and the blue together. Now the pink and the blue will blend them together to create our little bit of that purple transition, which works. It's okay, we don't have to use a very light shade over here. We have used a light shade for the blue, but we don't need to use a light shade for the pink. Over here, you can see when I blend them, the pink and the blue together, they tend to create like a purplish blend in the sky as well. And that works out really well for us. So I'm adding a little bit of pink on the left and the right side with a little bit of blue in that blend or in that layer itself. After I add in the pink, I will switch back to the blue and then add that into the deeper blue will go in. And I will add that in and just blend it out. Now over here, my major focus is trying to place the colors first. Instead of getting that perfect blend, I'm working on placing the shades where they need to be before I go ahead and start blending everything into one another, right? So this one works really well like you can also transition this way. Or you can also focus on going section by section where you're making sure that you're blending the colors and then proceed to the next shade. So either way, you know your final outcome and that is a blended Skype with all, with all the colors that you have you're seeing in the reference image or have in your mind. So you have to make sure that you're getting all the colors. Either you move in with placing all the colors and blending them later, or blending them as you go over your F. Well done blending all the three colors that I've added just to make sure that the colors are slightly blended and merge into one another and they don't have any harsh lines and founded on muddy colors around it. Now I'm just adding some strokes of white as well wherever I feel like. That is a little bit of the muddy colors you can add white to tone down that shade or the visibility of that shade. The white. White is literally your best friend when you're painting with gouache. So whenever you feel like things are not working out well for you to start a bit of white and try and blend it in. Most of the times is to work especially for blending of the sky. Obviously, it works out really well, but in other places as well, you can try it out and see, especially if they're not blending a little bit of white. And most of the times, the blend becomes seamless by using white, added the deeper blue color at the top, and I'm bringing it downwards, same, blending it at that angle. And then trying to come towards the pink. And I'm going to leave a little bit of whitespace because I want a little light blue transition happening there. And using their light blue color and a bit of water, I'm gonna go ahead and blend it out. Now over here, I'm keeping the consistency of my paint Towards the little gel-like consistency. It's not too watery. It is very creamy, but I wouldn't say like creamy that it's directly from the tube. It does have a little bit of water, but it does. When you mix the paint, you will immediately feel what I'm talking about. It shouldn't be too thick or too thin. You have added the blue. I really liked the way the bluest lending, but the pink just looks like it's standing there and it's not blended. So I'm gonna go ahead and use the pink shade and add it in and get that color to blend in with the blue. And as I just brush my brush over at my flat brush over that area, you can see how it just sort of blend in, right? That's how you are able to create seamless blend serious have to sometimes layer in the same layer, just add in another section or another layer of paint over it. And just get your flat brush and a bit of water to do the job. You can also use a clean brush with no water in it to sort of blend everything and make everything looks seamless. But overall, I am really liking the way this looks. I will just make a couple of strokes just to get everything blended with one another a little bit properly. But I really like the way this looks. Once it dries, it tends to look a lot better. So I'm going to give it that time. And in the next lesson we will be painting all the details for the trees 23. Day 6 Part 2 : Pastel Sky: Alright, so now that the sky is dry, you can see how it's dried up a lot more better than it looked when it was wet. So now we're going to move ahead and make a mix of brown, that is my burnt sienna black. And I could add a little bit of white in it. But that's for later. This is just burnt sienna and black mixed together. What I'm going to do is create this mix for the roofs in the background, right? So you can just create a line, a horizontal line, and a slanted line next to one another. And just fill in that space so you can sketch this out for yourself as well. I'm just going to play around with the sizing of it. So it should look like the leftmost houses slightly closer to the observer and the one in the middle, which is almost towards the right. It's still further away. So you can see how it creates that effect. It's almost like creating a bunch of stairs, but it doesn't have a lot of height. Next, I've added a little bit of white to it and I'm just going to go ahead and add it on the top to create the brighter part of the house. So let's say you're looking at it from an angle. So you're going to see the roof and also the center portion or the base portion of the house. And then you're going to have the darker portion of it. So the roof portion. And I'm going to create that sort of effect with the light. And now what I'm going to do is add in a little bit of black into the same color and add a little bit of brown just to make that color a little bit deeper. And I'm going to put it on the left side to create that separation so that you can clearly see which is the face of the house and which is the side of the house, right? You don't have to work a lot on the details here because you're not going to be seeing that. Very definitely. We've got a lot of trees in front of it, but I'm still adding that in just for reference so that even the little peek through that we have, you're still able to see that these are a bunch of houses placed next to each other. Now that we're done with this, while this is drying, I've created a mix of my black and brown together to create this deep shade, almost close to black shade. Now I want to start making a bunch of trees. Now when you're making these bunch of trees, you want to work at the sizing of it. If you look at the reference image as well, the tree that is almost in the middle appears to be small. I am using a size zero brush here. By the way, you can, like I said, you can switch to a smaller size brush if you want more finer details. I felt like this tray needs to be small, so the details of the trees needs to be small as well, especially for the other branches. Branches are going to be very fine. And that's why I made the decision to switch to a size zero brush. Now the tree here is going to appear smaller than even in the reference image. You can see how the tree appears to be smaller there. And then as you transition towards the left of the paper, the size of the trees will increase. So I'm also varying the different types of trees. I'm going to have some normal looking trees and some pine trees as well. So just some trees and branches and branches, things like that. And then you're also going to play around with the types of trees. Now, you can see we have a lot of whitespace, right? You could make it dark enough, but I wanted to leave it white itself because I can add in Big-O strokes and sort of covered that area up entirely using my brush switch to my size four brush here again, I'm going to go ahead and add in a bunch of different strokes. Keeping in mind that I want to cover up this eta entirely with trees. And I'm doing that because I want to show that this eta has lot of trees and a lot of different types of reason and lot of details in that section. We're not seeing the houses through these trees. So that was the kind of effect that I was trying to create in this area. Now towards the very left of the painting, I've added a pine tree using the triangular method like we did earlier this time, it can make it a lot more compact and a naught. And you don't have to add a lot of details because this entire section is pretty much compact. You're only seeing the details of the topmost part of the trees properly. So added a bunch of pine trees covered up the entire section. And I'm also adding sort of like a peeking through branch of some other tree. We're not able to see the exact details because they all appear to be like a dark trees. You're not seeing a lot of details. So we will bring in the effect of which trees in front and which tree is receiving light from the lamp and all those sorts of things. So that you're able to distinguish the trees from one another. And they do look different, rather than just looking like a layer of really, really dark shade at the bottom. So that if a bunch of different details for the final branches using my size zero brush. And I didn't like the way this looks right? And I can see how the houses are peeking through. It's not very detailed, but you can still tell that there is something else behind the trees as well. I really like The way this section has turned out. So you can play along with the number of branches you want to add or even the shapes of the cheese. There is no definite order of going about this. I always say that you can have the creative liberty to change things. And I would really like if you change things because that helps you get your creative juices running as well. So now that we're done with the leftmost section, and almost like the center of the painting. Let's go ahead and use another brush for this area over here, I want the stroke to be a lot more broken. So I decided to go with my size two brush. And this one is a little bit spoiled. So it gives me a bunch of different strokes all at once. I like using that for all the branches. But I also feel like it is very difficult to control the way in which the branches go. If it's not, it's not necessarily that you have to use a small brush for this. You can use a normal brush as well. Over here, again, we will be making a bunch of different trees. I'm not adding any pine trees in this section, but I am going to be adding a fuller looking trees, baby. This is a shrub and it does have a little bit of leaves left on it, so it's going to appear fuller. The idea behind that is to just cover up that whitespace that we have entirely. And also create that effect of viewpoint where the center most portion is still further away. The left-hand right areas are still a lot closer to the observer. And again, playing around with different types of branches and different sizes of branches and different heights of the tree. So as you can see, I filled up the entire space using the brush and fatter thicker strokes. And then I'm adding cheese which appear to be a lot taller. So like I said, we'll be playing around with a lot of different sizes of trees and a lot of different variations. Really. I'm just looking at the reference image and just understanding the composition of it. And the way in which I want to add the trees totally depends on me. As an artist. I can change things that I want. So right now, I'm almost done with the way this looks. Now I'm gonna go ahead and start adding some highlights to my trees. And before we go ahead and do that, we do have to add a little lighter looking tree in the front, which is slightly taller. When you look at the reference image, you'll know exactly which tree I'm talking about now, making a brown mix, but this is a slightly lighter, so the black quantity is a little bit less as compared to the ones that are in the back. Using the shade, I'm going to make a tree. The reason behind making it lighter is because I want to show that this tree is slightly closer to the observer as compared to the trees that are behind a try. You can play around with the colors and that manner. You can play around with the shades and bringing that viewpoint of what's closer. Because then they're closer, they will receive a little bit of light. You'll be seeing a little bit of the trunk and the details of the trunk as well. But if the tree is at the back, you're not going to be seeing a lot of details. I've gone ahead and created a tree, added a bunch of branches. Again, feel free to change the shape of the tree and make it how you like, right. There is no right and wrong with the tree. You can never go right and wrong with the tree. Except pine trees, I would say because they are a little bit complicated to make. But if we're making a normal looking tree, you can always play around with the shapes and sizes and things like that. So I've gone ahead and added a bunch of branches to my tree. I really like the way this looks good. I'm really able to tell that this tree is in front as compared to the details that are in the back. Now once you're done with that, I'm going to add a little bit of white into the same mix using a slightly thicker consistency and a little bit of control on my brush. I'm gonna go ahead and add in just some lines. And the lines will majorly be on the trunk and a few branches just to show some highlights on it's usually able to see the details of the branches as well. So not added so much, just a few lines. You can add them on the pine pine leaves as well, the needles on the sides. So you're able to bring in that viewpoint. Now, I'm going to go ahead and work on the street light. So I've gone ahead and made a vertical line using my brown paint where the light is, I'm adding a little bit of yellow around it first. So you're just using yellow, plain yellow. I'm adding that are rounded. And then I'm going to add a little bit of a lighter shade to it. And you and I mixed a little bit of red because I want to show the highlight on the poll. You can add that and you can see how it really shows that because of the light, the poll is going to receive a lighter color. So this requires a little bit of going back and forth with the shades are to really get the effect that we're looking for. If you've watched my previous 15 days cost challenge, we did have something very similar to this. This is like a smaller version of it. But in that video only painted like a close-up view of the street light. Over here. I've gone ahead and added a little bit of white paint in the middle, and then adding the darker color around it just to show that glowing effect around the street light. And you can just blend all of it out using a clean brush. And it should be a little bit controlled because the sides of the light is really small. You have to be a little bit control with that. Now I'm doing the same thing at the bottom as well, adding a little bit of yellow and white in the middle, and then cleaning my brush to blend the colors with one another using just water so you can go back and forth over here as well. If you feel like you added too much of the white and it blended with the yellow and it's just white now and doesn't show a lot of yellow. You can just add the yellow and then using a clean brush, go ahead and blend it out. So over here I feel like there's too much as the white. So I'm adding a little bit of yellow again. And now I feel like the white is gone. So adding a little bit of white again. So like I said, it does take a little bit of back and forth with the colors and just blending things out with one another. But once you are done, you're going to let this dry. I really like the way this looks, so I'm going to leave it here. And in the next lesson we'll be adding all the details for the trees on the top. 24. Day 6 Part 3 : Pastel Sky: Alright, so here we are at the final part of this class project. The goal is to add a bunch of branches peeking through the left and the right side. For this, I'm using a mix of my black paint, a little bit of brown paint, and I can add a little bit of glue and as well the Prussian blue color. So just mixing a bunch of different shades to get a really, really dark color. Okay, the goal is to have a dark shade, which is a blend between the colors that we've already used in our paintings. So they're more in harmony with one another. I'm gonna go ahead and you can actually draw this, but I'm doing it freehand. You can draw the branches out first just so that you feel a little bit more comfortable before going ahead and adding everything. I'm going with a branch coming from the corner of the left side. And I'm going to add in the main branches first. So you're going to add in all the shapes, the main shapes that you're seeing before you go ahead and start adding the final branches and leaves and strokes like that. So I'm going to go ahead and add the bigger ones first around the smaller ones at the bottom. Instead of making final branches, I've gone ahead and added a bunch of these random strokes. They also represent a branch, but at the same time they represent those little leaves that are there. You can also look at the reference image to really understand the placements of these and how to make your brush strokes to make them resemble what you're seeing in the reference image, right? In the picture, the reference image that we have. We are seeing very few details for the leaves, the mostly for the branches, but at the same time the branches are really next to each other and they're very fine, very combat. That's where you're kind of mixing both those types of strokes with the idea for both of those elements that is, finer branches and leaves. And making them something like the ones that we are doing on our paper. We've added a lot of these branches looking shapes, but these are all just clusters of little strokes of different sizes put together. But over here, honestly, it's not like you have to copy the reference image or the placement of the branches of the reference image. If you'd like, you can make this your own and sweat. And how can you make that your own? You don't have to do, is maybe you want the leaves to be looking different. You can add longer leaves, you can add more Maple Leafs. Looking structures are just more leaves or no leaves. They're all just different things that you can do, add and neglect depending on what you've what you feel like in the moment. And this is why I always say half the creative liberty to change things. It's okay if your painting is not looking like an exact replication of your reference image, that is, if you are not trying to do that, if you're going for realism, then obviously you have to keep an account all the details. But if you're just painting in impressionism, then you can change things based on what you'd like. So I've just gone ahead and added these branches using the brush strokes that I'm really comfortable with. You can see how I've waited. Brush the branches for the brushstrokes and the stems, those little branches and even leaves for details, you can also switch between different sizes of brush to get different types of brushstrokes are normal round brush stroke which is pointed, it will give you a different kind of effect. You can also use spoilt brush to get a bunch of final branches next to one another. You can also use a longer brush to get some longer leaf effects. So you really have to try your brushes, the ones that are available with you to really get a hang of these things so that you know, when you, when you look at a brushstroke and you look at a reference image, you know, okay, if I use this brush, I might be able to get this type of brush strokes and make it resemble similar to the reference image. So you will have to keep seeing what you have and work with things that you have. There isn't a need to really use. The brushes that I'm using are really use the paints that I'm using. It's all about how you make things work with the materials that you have. So that comes with a lot of practice. So you'd have to keep painting, developing your talent more than holding onto supplies. I totally understand we all love holdings applies, right? We all want a bunch of different ads, supplies and we see some artists use a particular brush or paper. We wanna get those as well. Mostly people who plays a different role, paper is pretty important, but I feel like brushes can be compromised with because it's about the way you use them. Not immediately about the brush itself, especially for goulash, for watercolors, yes, you'll need to get good brushes, but I feel for gouache, you can do with any brushes as long as you know how to use them. Okay, coming back to the painting here, I've painted all the trees and branches that I see on the left side. I'm gonna do that on the right side as well. You can also change the shape of the branches that are coming from the right side. So they kinda look different from one another. But at the same time they are covering the major portion of your painting. So I'm just going to leave you to it. Imagine what you feel like it. Look at, look at the reference image or look at what I'm doing. Just feel free to just enjoy the process of painting and just have fun. That's the major part. So I'm just going to keep quiet, going to lead to enjoy the music and paint along with me. Alright, so now what I'm doing is actually adding final details to my branches now that we're done with the main structure, right? So wherever you feel like you could add a bunch of different branches and it will just make the tip of the ends, are the ends of your branches a little bit more pointed, a little bit more detail. You can go ahead and add that there as well. I really like the way this has come along. It was a very simple class project as compared to the ones that we have done before. There's a lot less steps involved. It's just repetitive process. And I feel sometimes that reparative process can be really relaxing as well. I really like the way this looks. Take a step back at a new finer details. And once you're done with that, you're going to let this completely dry. And then we'll move on to adding a little moon in-between the branches shapes that you have, okay, So make sure that you are leaving a little bit of space in the middle while you're doing that. Alright, now that we're done with this, let's go ahead and add our mode for that. I'm loading up my brush with a little bit of white paint. Just like that we do for the sun, where we add the dot and then blend out the edges. We're going to do the exact step. First, I'm making a small little circle in the middle. And then I'm slowly going to build on the size of the circle because sometimes what happens is we end up making a big circle or big moon, then it doesn't end up in that nice circular shape. So we end up adding more and more to it and it becomes really large as compared to the painting that we have. So I went ahead with a small one first and then built on the shape of my moon, which is just a circle, it's a full moon. Then using a clean brush, I will blend out the edges so that it creates that glowing effect around it. I'm going to clean your brush and just touch the brush towards the edge with your wet brush. And the paint will automatically just move with the brushstroke that you add will blend out because it's very similar to watercolor is right. So it will behave like watercolors here when you add in the water. Once you're done with that, you'll let this dry. Once this dries only you will add another layer over it just to make the moon a little bit more defined. So I'm going to go ahead and just add the circle again. Just repeat the process. This time we can see how it has that glowing effect around it. But at the same time we were really able to see the shape of the moon. You could also blend it out slightly if you feel like it, but I really like the way this looks. So I'm just going to let this dry and we are done with our painting. So once everything dries up carefully paint the tape, you know, the trick is to peel away from the paper so that we don't end up tearing up people. Mosul times the handmade papers are the ones that end up tearing with the tape. So I would suggest that you are a little bit careful if you're using a handmade paper, but otherwise, if you're using the machine press paper, you are good to go. This is a final painting. Before we have a closer look at it, let's sign the painting. I know we've worked very hard for this, so it's important that we sign our painting. Alright, let us have a closer look at our paintings. So here we have a beautiful blend in the sky of pink, blue, and orange. We've got trees coming at the top and a beautiful street lamp glow at the bottom and a Street View at the bottom. I hope you enjoyed painting the six class project with me. Here's a sneak peek of what's coming next. See you there? 25. Day 7 Part 1 : Golden Hour: Hello, Welcome to your seventh class project. Here's what we're painting today. Let's talk about all the colors that I'll be using for this class. I've got cadmium yellow. Next I have primary read. Next, I have Prussian blue. So these three colors will be the colors that I use for the sky. Next I have sap, green, I have burnt umber. Do keep a tube of black paint with you. I forgot to show this here, but keep a black deal with you. Lastly, I have white paints. These are all the colors that I'll be using. Let's dive into the basics sketch. On the left you have the reference image that I'm using. You can download the reference image from the project and resources section. So over here you can clearly see that you've got a horizon line. We've got a son in the background. And then in the foreground we've got a slope and a stone wall behind which is the tree. So you've got a place all our elements in properly. So first, I'm drawing the slope in the foreground. And above that, I'm just making an irregular shape that is going to resemble my Stonewall, will be adding all details later. We don't really have to work on the details here. I'm just placing it in to give you a slight idea about how it goes, but I'm not really sketching on the details properly. Behind that is the tree. But before, before we draw the tree, we need to place our horizon line. Now, where is the horizon line in this image, you can clearly see the colors of the sky and the bottom portion of the era where it's more of this gray, red, gray shade. You can clearly see we've got some trees and some houses are some plain land with some trees over there in that area above which we see the glow of the sun or the sun. And through that in front of it, we have the tree. So we've got to place our tree in a way that we place the branches around the Sun chicken clearly see how you're able to capture the sun through these branches. Layer tree doesn't have to entirely look like the reference image. You can try and make your own sort of tree. I will be making my own tree because I feel like this type of trees kind of tricky to get because you'll have to go with very, very fine details. And I just wanted to make my own. Theresa went ahead with it. You can try and make a similar tree as well if you'd like. The only thing that I've been in mind when I'm making this is the placement of the branches. So I want the main branches to go around the sun so that I'm still able to capture that detail for the glow. But otherwise, the entire structure can be different. Your sub branches can be different and you know, things can be different there. The only thing that I'm keeping in mind is that I want my son to be in-between the branches so that I'm able to create that globe. So here's our basic sketch. Now that we have it, we can dive directly into the painting process. Alright, so let us start painting sky. So I'm using my flat brush here and we're gonna make all the colors that we need for the sky first before we go ahead and start placing everything there. First, I'm using my cadmium yellow mixed with a little bit of primary red and white. I'm going for a yellow color, a warm yellow shade, but I'm not making it to warm, that it becomes orange and the red quantity is very little. It's not a lot. Next, I'm mixing red, primary red with white and a little bit of yellow. So I get this orange shade. Of course, adding white will make the orange color a little bit more lighter tones down the vibrancy of the color. And this is the shade that I have. So you can clearly see it's a lot more towards the pink side, but it still has the yellow undertone to it. The next shade that I'm going to make is for the blue. So I've got a mix of my primary, sorry, my Prussian blue, white and a bit of black. So that's the shade of blue that I'll be mixing. I've got primary blue, a little bit of black and white. You're mixing blue. After mixing all the yellows and oranges and reds together, make sure that you are cleaning your brush properly because if you don't, you might end up with a muddy mix. So make sure that they're giving it a nice double rings. These are the three colors that I have that I'll be using for this guy. Let us start painting around the Sun. I want more of the yellow color that should transition to the orange on the either side of that color. That is the yellow, and above that should be the blue. So that is the basic concept that I'm going for. As you can see, my brushes not completely clean. So I ended up with a little bit of a muddy mix in case that ever happens to you, all you have to do is make more of the right color that you lead and add it over and just blend it around or wait for the layer to completely dry and go over and add it again. So what the techniques are right? Now, adding that orange color, that is the one that I made around the yellow. So I'm just trying to get the lighter orange color to blend in with the yellow shade. But keeping in mind that the yellow color needs to be where the sun is, that Adrian needs to appear lighter. So you can also add in a little bit of yellow and white To kind of place that color where the sun is going to be in case you blended those colors out and they turned out to be a bit darker. So you always have the chance to go ahead and add in a lighter color. Now I'm adding the blue at the top. And as we've learned in our techniques lesson, that when we want to blend these two colors together, we leave a little bit of whitespace and blend it using white. So that's exactly the technique that I'm applying here as well. Leaving a little bit of whitespace and then using white paint directly to blend these two shapes together. I will suggest that whenever you are in a blend like this, we start off with the blend that you've just put. So let's say you already did the yellow, orange and you put blue. I would suggest you put white. Go ahead and blend it with the blue because that's already wet and it's a lot easier to blend it in with a wet paint and then clean your brush, load up some more white and then blend it into the orange that you're reactivating the paint or whatever color you have at the bottom. You're reactivating the paint and then blending it into the stakes. A little bit of practice, but I'm pretty sure you're going to get it. We're on day seven. And by now you've already figured out different color mixes and how to use the same rapid rate of colors. If you noticed, till now, till the seven days, this is seventh class 70. We have only used Prussian blue, red, yellow, just the same shades, but we ended up mixing our own variety of colors. So it's not about the number of colors and a number of shapes that you have, but about the knowledge of color mixing. Now that I'm done with the sky, I'm moving with that orange color at the bottom. I'm just adding it below the horizon line because I need to blend a bunch of colors over here. First, starting off with that pinky, peachy orange shade that I made. You don't have to cover all the way to the stock just up until the Stonewall that you sketched out is enough. I'm adding that in, making sure that I've evenly spread the paint out first. Next, I'm mixing a little bit of red and blue to the same mix. You can also add in a little bit of white there. And I'm going to go ahead and add it right at the horizon line and kind of blended with the orange, making it downwards. So they're able to create that glowy effect at the, at the bottom. Now the idea behind this is because the sheets are so light and you're not seeing so much, so much of the details, the distance, that it's okay to just have a random alkalosis merge into one another because that's not where the details are. Next. I'm taking my round brush and just creating these random squiggly lines. Just keeping in mind that these resemble the plants and the land that is at that, at that height, at the ground level, right? That's why I've created that shade and I'm using this purple gray looking shade for those details as well. That is because most of that as kind of blended out, you're not seeing a lot of details in that area. I felt like the purple was too harsh, so I went ahead and loaded it with a little bit of yellow and white and just add that in. So I kinda blends out and merges with the details of the sky as well. So the basic idea is to create that glow around the sun as well. And also at the bottom. So it's kind of has that hazy feel to it. Once you're done with this, you're going to let this dry and then we'll move on to the next steps. Alright, so not that the paper is completely dry. What we can do right now is create the sketch for the tree. Again. I would like to bring your attention for the background, especially the one below the horizon line. You can see how they start glowy effect to it. And you've also got details for the land that is at the bottom, at the ground level. It does look a little bit crazy right now, but let's start making a lot more sense when you've got the tree in front. That is exactly what we're sketching out right now. Because we had an opaque layer, obviously gouache is opaque. So you've got the opaque layer on top, so your sketches going to go, so you're going to have to redraw the shapes that you had and the elements that you had in your painting. So you're going to sketch out the tree. The only thing that I'm keeping in mind, again over here, like I mentioned earlier, also, that I have to get the branches to be around the sun. That is really, really important to keep in mind. And otherwise, the shape of the tree is not going to play a very important role. You can change things, you can do all structure of the tree. It's completely fine. The only thing that I'm really paying attention on is that I want my branches to go around the sun. So the addict create that glowing effects. You can see how I've just created the main branches first. And I will do all the sub branches detailing when I reach the painting part, but you can sketch the smaller branches out to if you'd like. Next, I'm just creating the mixes for all the shades that I'll use for the tree. First, I have a mix of black and brown. So here's a swatch of the black and brown color. And you can see how it's a very, very deep color, but it's still not a black mix. Next, for the gluey part around the sun, I'm going to mix my yellow and red together to get this orange color mixed with a little bit of the brown color. And this is the shade that I'll use. It is almost a shade like burnt sienna. I would say you could use burnt sienna as well if you'd like. But I just like mixing my own shades. So I'm going ahead and doing that. Feel free to use browns and reds as its. Next, I'm taking up a little bit of a white and you can take a little bit of white mixed with a little bit of yellow if you'd like. But for now I'm just going with a mix of white paint and just outlining the sun so that I've placed that properly before we go ahead and add in any more details or rounded. So you can make it nice and opaque and add a layer of yellow around it so that it creates that glowing effect. And you can do that by using your clean brush. So I'm pretty sure you've got it Now you're a pro at this. In the next lesson, we will be adding all the details for the cheese. So see you there. 26. Day 7 Part 2 : Golden Hour: Alright, so let us dive right into the painting process for the tree. So I'm using my dark make that I showed you earlier, washed out earlier using that color and my size four round brush, I will be making a nice, almost like a gel-like consistency. It's just not too thin. It's not too thick. Right? So that's the consistency that I'm going with. You could also say it has a little bit of like a milky consistency, but slightly thicker than the milky consistency. So I'm gonna go ahead with this color and outlined all the main branches first. So the idea behind doing that is you have the placement for all the main branches that you need. Then after you're done with the placement of the main branches, you can add an all your final branches using a different brush if you'd like to get really, really fine details. So you can see how I'm just making small, fine branches. Right now. I'm not looking at the reference image, so my tree is entirely different from what the tree looks like in the reference picture. It is completely fine. This is just the way in which we get our creativity to flow. Alright, so I'm gonna go ahead with this shade and add in all the finer details. This color goes all the way up until it goes around the sun. Immediately. As you reach around the sun, you're going to go with the orangey color that we had. And you are going to go ahead and create the branches in a same, similar mama that you're doing at the bottom, but with this lighter color. And as you reach the top, you can go ahead with the darker color again, then create your branches on the top as well. Now, there will be times it didn't have to go back and forth with the shades that are around the sun so that you're able to create that nice blend. Because only around the sun you will see like the glue of the orangey color. And then at the bottom parts of it are that is on the same branch. On the either side, you will see the darker color. You'd have to add it using a flat brush earlier than rational sad brush. But you round brush with water with a little bit of water and have to kind of blend it in, still have to go back and forth with that. But either way you have to keep in mind that the glow of the sun going to have those orange branches, right? Once you've finished those branches, you can go back to your dark color and then create your branches around in a seminar nano. So like I mentioned, we will be going with the main branches first, right? So we'll create all your main branches using the same shade. And then after that, we will add in all our final branches. So I'm just going to give you time to create all your main branches. I'm going to keep quiet because the process is especially for me. The process of creating cloud is something that comes from within. I really don't look at reference pictures a lot, especially when I'm in my own world and I'm trying to create my own tree. I try not to focus so much on the details and just enjoy the process. I'm just going to let you paint and enjoy the process of creating the branches. But before I let you on your own, I will just say a few more things so that you have time to be on your own as well. So I'm going to go ahead. And now that I've done with the basic structure, we're going to let this dry and then you can actually mix up more of the paint and kind of effect the glow around the sun. So the yellow and the orange color, you can just perfect that before you go ahead and start adding details with the smaller brush for the final branches. So this is my main structure. In the reference image you can see they're all very, very fine, fine details for your branches. So we have to kind of capture those fine branches, but not entirely in the exact shape, but we do need a lot more finer branches to do. So what I'm going to do is just go ahead and change my brush. I'm using a smaller size brush here. And I'm going to go ahead and create all these finer details using that brush. So I'll have a bunch of different small size branches coming out from the main stem. And I'm going to go ahead and add that in whatever manner I'd like. So they're all going to be coming out from the same branch and going in the direction of the branch as well. So you have to keep in mind, if your branch moves left, your sub-branches have to move in that same direction. If you'd branch of them moving, right, you want your branches to move in the same directions. The angles can change, but the sub-branches have to move in the same direction. So that is the only concept that you have to keep in mind. Go ahead. I'm going to keep quiet, but I'll let you be on your own and just enjoy the process of adding these trees. The branches on your trees, wherever you feel like it. Don't try to constrain yourself. Put yourself in a box and say that this is exactly how it's supposed to turn out. It's okay if it doesn't turn out exactly like mine, all the reference image, you will end up with a totally unique painting. And that is why these challenges are so helpful. Because you'll learn, you enjoy, and you also let your creative juices flow so that you can create things on your own as well. So I'm going to let you enjoy the process and I will catch you in a bit. Alright, so the only thing that it has to keep in mind, again, is when you want to create the branches that are around the sun, you want to place lighter color branches, right? Because you want to be in sync with the glow that you are creating in that area. So you'll mix up our orange color or even a lighter brown shade, create the glow around the sun and the final branches that you want to add in that similar color. Again, wherever you feel that the strokes that you've made are too harsh, The showing up a lot. All you need is a clean brush. And you can go back to this, blending them together and letting them merge into one another so that the glow is nice and seamless. On the branch right here, I'm using my small size brush, adding in all the details for the branches. So you've got a lot more details to add. You can see how I'm carefully adding detail to the lighter color using the shade. And we've got a lot more details to add all the way till the end of the trees on the left side. Again, going back to the reparative process, I'm going to let you enjoy it again and I'll see you in a bit. Alright, now that I'm done with the structure of my tree, but before we go ahead and paint the Stonewall and the dress and the hill slope. I feel like the Blow is not orange enough as compared to what I wanted. So I'm creating a mix of yellow and orange. And I'm adding this orange color at the inner part of my branch, as you can see around the sun that is receiving that light. I'm just going to add that in carefully and you can see how those orange dress on top of the previous sled. So to blend it in, I'm just using a clean brush. I'm just going to move the colors around so that it blends with the previous layer. And the glue for the Sun that we have shows up a little bit more, a little bit more orange as compared to what it looked early. I felt like earlier it became a very deeper shade of brown as compared to I wanted what I wanted, that was a very nice orange color. But right now I can see how the glow around the sun is really nice. It has taken the shape that we wanted. So we're going to let this dry. And in the next lesson, we will be painting the Stonewall and all the details for the grass 27. Day 7 Part 3 : Golden Hour: Alright, so now that we're done with everything that is in the background along with the tree that is in the foreground. We're gonna go ahead and start painting the Stonewall for which I'm going to mix my black paint with a little bit of white. So we're going with a shade which is a very, very deep shade of gray, black and a very, very tiny amount of white will give you this depot gray sheet that we need. And using an art brush, you are going to go ahead and just start painting your stone walls. I'm going to go ahead and start with creating just irregular shapes, right? Because the stones are of different sizes. So I'm just creating an irregular shape and what left and right side. And then you can switch to a flat brush to just fill in up until that slope that you've made up until where the grass dots. You can use a flat brush to fill that in order to light the consistency to fill that in. Because we've got to layer it with the details of the stone. Just a few little highlights and shadows that will have to play around with. So first you'll make the Stonewall. Then below that, we will paint the grass. So while that's drying, while this layer is drying, we'll go ahead and paint the ground as well, right? So the grass, all the different greens and yellows that we're seeing. So I'm going to clean my brush and I'm taking my green color, adding a bit of black in it. So that's the first shade of green that I'm using, is a deeper green color. So sap green mixed with a little bit of black in it will give you a deep, deep green shade. Some applying that right below that line, the slope that we have. Just to show that because of the Stonewall, this is going to cost a lot of darker colors to the grass. That's why it appears to be of this dark shade. I'm just taking sap green directly on my brush and a little bit of yellow and just adding different colors in different areas. That is the basic goal here. Even in the reference image, you can see how these colors are blended into one another, right? You've got the lighter green, you've got the yellow green, you've got a little bit of black as well, a little bit of brown as well. So just kind of making these irregular strokes, just some horizontal somewhere to go and getting these colors to blend into one another. And you'll be able to easily do this while you are moving in, just moving simultaneously between the colors. Because when the paint is still wet, you'll be able to blend them together a lot better as compared to adding greens and then adding yellow on top of it. That when you do that, it looks like the colors is just resting on top of each other and they're not blended. When you do it this way, the entire layer just kinda blends into one another a lot. Well, as compared to having to do them in different different shades and different different timings, right? I'm also willing to go ahead and add in some of these vertical strokes that will resemble the grass. On top of which we'll add in some more highlights. Go ahead and add in some grass looking brushstrokes. There's just some vertical strokes in different directions. You can also play around with the color. I'm adding a darker brown shade, darker green shade to just resemble these graphs elements that we see on the ground at the slope, right? So you can see how just, just the very random, honestly like if I were to explain them, they're really random. The only thing that is changing is the brushstroke, the brush movement and the placements, and a little bit of the color. So I feel like I said, everything that changes but just the color and the brush strokes will remain the same. Just the color changes and the placements of it will change. But overall the structure remains the same. It just randomly adding it in wherever you feel like your structure doesn't have to follow what I'm doing here as well. Your yellow can be somewhere else, your brand can be somewhere else, and that will work too. So while this is drying, we're going to go ahead and create a lighter green mix that we will add as highlights for the class. In the same green that I have, the green sap green mixed with a little bit of yellow and white. I'm gonna go ahead and start making these crosslinking shapes. Here's a swatch of the color that I have. It's a mix of sap, green and yellow and a little bit of the white paint. I'm just gonna go ahead and create just at the top of the deeper shades that I have. I'm just going to create these lines, vertical lines in different directions that are going to resemble my garage. I'm gonna go ahead and add that in very randomly spreading that out. It's not I wouldn't say it's all over the place or is covering all the areas. It's not. It is just covering a few areas, especially where the deeper colors are. Now while this is drying, let's work on the stone. So I'm going to make a mix the two shades of gray that I have to make. One query is going to be slightly darker mix of black and white together, this will be a slightly darker mix of green. And I'm using this mix to create the shapes of my stone Now for the shapes of the stone, I'm really not following any structure. I'm just making these gray dots of different sizes. You want to make some big, some small. They are just next to one another as you can see. But there's still a lot of gap in-between them. You want to add them very randomly, right? Because these stone walls, they don't really follow a structure, especially at this distance. They don't just randomly add that to kind of get that effect that you're seeing in the reference image without having to really focus so much on the details. If you make that the stones in that one line, they don't give that effect of the stone walls. And that is why I said, you want to place them very randomly. Because if you try and follow any sort of structure, they look very patterned. And the stone walls, because these stones are of different sizes. And through the years they appear to have lost a little bit of the shape. Probably they were properly shaped before like proper cubes or squares. But because of hundreds of years that they've been there, they get to have different shapes now because of erosion. So now I'm making a lighter gray mix. So I'll just add a little bit more gray, little bit more white into that same gray. And using this color, I'm going to go ahead and start adding some highlights, right? So I've got the gray color all over the place, the shape of my store walls are ready. I'm gonna go ahead and just add in some of this light gray mix on top of some of the stones. You don't have to add it on all of them. Then it's adding it on the top just to show that the light is falling in that manner right at the top. And that is why it has that different shades of gray appearing to show the difference in the shapes of my Stonewall. You can see how we were able to capture that unevenness of the Stonewall. But at the same time we can clearly tell it's a stonewall, right? So we have not bogged so much on the details, but we were still able to capture the idea that we were going fall from a reference image. Now that this is done, we're going to let this dry and take a look at this, kind of analyze the painting and see what is missing from it. If you feel like I could add a few more branches or I could add something else for the Stonewall, some more highlights for the grass. Now is the time to really go ahead and add those things that you feel are missing. I felt like I could add in some more final branches, so I'm just going to go ahead and do that. But if you feel like you don't need to add anything, please feel free to do that. You don't have to add anything as well. And you're just going to let this dry and being the tape off directly. I always, when I have my final look at my painting, I really look at the overall composition and have a look. Try and have a look at the painting from a different perspective. So the one thing that helps me is to take a walk or click a picture, even look at the picture because sometimes when you're painting and you're looking at the work that they're doing for so long, it just doesn't look nice. You don't notice the mistakes that you probably will notice when you click a picture or come back to it after like 5 min or 10 min. So that is something that helps me. Let me know if that helps you to say in case you're watching this and you feel like when you're painting, when you click a picture, you're really able to see what you're doing. And the weights coming along a lot better as compared to looking at the painting itself. Let me know if that's something that you experienced in the discussions. So please do start a discussion. If that is something that you resonate with, I would love to hear your thoughts on that. If not, you can reach out to me on Instagram as well. I would love to hear your thoughts there as well. So wherever you can, let me know if that is something that you resonate with. Because I feel like a lot of artists to write. I feel like listening a picture, looking at the picture makes me understand. Okay, Whatever I'm doing is making sense and it's turning out nice. But otherwise, if you tell me to look at the painting itself and judge my painting, I will tell you it's not going the right way. So I feel like that helps me a lot and even coming back to it after awhile helps me a lot. Alright. Coming back to the main thing, I'm just adding a bunch of branches where I felt like I could use some final details. And I always love adding some final details into my paintings after I'm done with the whole composition. Wherever I feel like something is missing in, it's always good to add. But also there's a fine line between overworking on your painting and just adding in some finer details. So keep that in mind next time we're trying to add in a lot of details because it's just a line where you feel like, oh no, I overdid this, right? So it's all about self-control. So where do you feel like you're doing too much? Just take a break, take a walk, come back to it and I'm pretty sure that need to add something will go. So this is me. I'm happy with the painting. I really like the way this looks for now. I'm going to let this dry and then we'll feel the tape off together. Alright, so this is my dry painting. Now, I'm going to fail the tape of, if you're here since the beginning, we build a tape of away from the paper so we don't tear our precious little painting that we've worked so hard to paint. Before we go ahead and have a closer look at this, make sure that you sign your pretty intense because that is the best feeling in the world where you get to sign it. You've worked so hard for this and that little painting deserves your signature. Now let's have a closer look. I actually really like the composition of this painting. And one thing that I'm really proud of is the Stonewall, the grass, and also the background. The glowy effect of the elements on the ground level really has done so by as compared to when I tried this painting three years ago. Anyway, this was tastes seven. I hope you enjoyed painting along with me. And here's a sneak peek of what's coming on D eight. See you soon. 28. Day 8 Part 1 : Poppy Field: Hello everyone, Welcome to the aid. Use what you're painting today, which is a beautiful poppy field. Let's talk about all the colors. So I have cadmium yellow, I have primary read. Next, I have ultramarine blue. So instead of using Prussian blue, I'm using ultramarine blue here. Next, I have sap green. I have jet black. And lastly, I have ferment white. You can use titanium white as well. So gather up your colors, get them ready, and let's start with the sketching process. So on the left you have the reference image. You can download it from the project and resources section as well. So before we go ahead and start painting, it's very important for us to get a basic sketch ready of our composition. So you can clearly see that we've got a sharp horizon line which divides the paper into two halves. So somewhere at the bottom, slightly lower than the half of the paper, I've made a horizon line, just roughly sketch it out. Now. Above the horizon line you've got a series of hills and mountains, right? So you can see some that are green, some that have a hint of blue that you're seeing. Majorly. We've got two or three or four, something of that sort. So we're going to look at the reference image and sketch it out. So you've got one in the middle, which is the furthest away mountain, and then you've got two on the left. I'm just going to think of two. I am sketching out all the different colors that I'm seeing. But when I paint, I will end up making two on either side and one in the middle. On the top, you've got a gradient sky. Then you've got some textured clouds. And at the bottom you have your poppy field, which is green, the red poppies that we're going to paint together. You don't really have to draw anything here because it gets covered anyway. You'll have to eventually improvise when you are painting over the base layer. This is a very, very simple, basic sketch of the composition. Let's start painting now. I'm going to start off with the painting of the background for the sky. Using my flat brush, I'm going to mix ultramarine blue. As you can see, it's a very nice, warm blue. And I'm going to add a bit of white in it. So we're going to be moving in that gradient blend that I taught you in the techniques less than right. So you remember how we went from the darkest color at the top. And as we came down with light ended up by just adding a little bit of white into the same mix. The consistency of the paint that I have here is kind of like a gel-like consistency or the milky consistency, like the ones that we've been using all this while in our class projects. I'm going to go ahead and load up the darker blue at the top. And immediately I'm just going to load my brush with a little bit of white. You can create this mixed on the palette and then put it. Either way. The idea is to have a gradient wash so you can mix the color, then apply it or just directly load up white and just add the color. Now when you directly apply it, you'll have to be careful with the blending process because we don't want to end up having only two shades. Because we own the lightest at the bottom and the darkest at the top. But if you mix it on your palette and then apply it, you kind of have a little bit more control over the shapes that you are putting. Right now. I'm just using a little bit of water to just blend everything with one another. Now that I've laid out all the colors, I have to focus on blending them so that the transition that we have from the lightest color at the bottom to the darkest color at the top, feels a little bit more seamless. A lot of times you don't really have to use paint. You can just use your clean brush itself to blend the colors. But obviously that is a judgment that you make. If you need a little bit of white, a little bit of the dark color, you just have to take the call when you're painting and get a gradient wash right now, really like the way this looks. I'm going to let this dry. And now that the paper is completely dry, we can add in the Cloud. So for the clouds, I'm going to use my round brush and I'm going to use a pick consistency of paint. So I want that buttery consistency so that I can create this texture clouds. Now these textured clouds are similar to the ones that we've done before. The only thing that really changes is the shape or the placement of these clouds. A lot of times when you are painting something like this, It's very important to observe the reference image itself. Even though your clouds don't exactly match, it had to understand the placements for it right now I am looking at the reference picture slightly and understanding the placements of these clouds and the shape of the clouds, I can change and play around with that. I am using my brush, kind of like battery to the paper. I wouldn't say parallel, but at a very close angled from the paper so that I get these horizontal strokes, as you can see I'm able to create these textured clouds. Now, if you notice very carefully, these textured clouds are slightly blending with the background and they don't tend to be as bright as you want them to be, and that is completely okay. Wherever you're adding white on a background color, blue, black, anything you're white will not show up that much. So you might have to work in two layers are three layers to make your white really pop as you'd want it to be. So this is just the base layer you can see I'm understanding the placements of the clouds and just adding the shapes roughly, trying to match the placements in the reference image. I'm just playing around with the texture. So you can see how these clouds are not really fluffy. They are together. These strokes are placed very close to one another, which creates this illusion of Fuller clouds. But at the same time the edges are really textured. So you can play around with this consistency to achieve different kinds of looks for your clouds. It can be slightly fluffy. I wouldn't say a fluffy clouds because we're not going to add a lot of details to this. But at the same time it's not completely textured. You are placing the strokes very close to one another to create this or effect for fuller clouds. Now that I'm done with the base color, you can see how it is slightly light blue in color, right? It is not completely white based on what you'd want it to be. So whenever you have a situation like this where you want to add in a little bit more of the color. You can go ahead with a second code. Over here. I'm focusing more on the top of the cloud to assume that the light is falling in that manner that is at the top of my clouds. And I'm just repeating the same strokes that we made earlier. And you can see immediately it creates that illusion of fluffiness in it. A little bit of highlight is added to your clouds. And you can place the highlights depending on where the light is falling on your clouds. I'm assuming that the clouds are receiving light at the top of it. And that is why on all my strokes at the top of them, I'm adding these strokes, some extra strokes to make it a little bit more of p. Then I'm also adding a few little fellow strokes just to add some smaller clouds in my sky. So your sky is going to have a combination of bigger clouds and smaller clouds. So make sure that you are adding a few tiny floating clouds just to act like fragments that have fallen apart from the bigger plots and adult to act as a connectivity. I really liked the way these clouds look. I'm going to let this dry. And while this is drying, you can focus on painting the mountains. I am mixing a little bit of black into my blue and white mix. And this is the sheet that I get. So it is a mixture of my blue, black, and white. And using this color, I will go ahead and just make the mountains for the further most one. So the one in the center, which is really far away from the observer. I'm going ahead and just painting that section. You don't have to fill up the entire area because you have this sketch, you know exactly where it needs to go. And it will add that and let it be. And after that, on top of it, I'm just adding a few white strokes just to show that snow is there on top of this mountain. You're going to do this while the paint is still wet, that it blends with the background. But I really like the way this looks. Once it's dry, we focus more on the mountains that you see on the left and the right side. For that, I'm making a mix of my black paint, my blue paint, a little bit of green paint, and a bit of white. So very, very tiny amount of white you can add to that just to make it slightly lighter and a little bit more opaque. This is the color that I'm going to be using for the mountains. So I'm going to carefully outline the sketch that I'm seeing. So you remember how I told you I will focus more on just having one or two on either side, right? So I'm just going to be doing the same thing. So you remember the third blend we talked about when you're blending paints while they're still wet. That's exactly what I'm doing here. I'm adding a little bit of the darker color, a little bit of just sap green and white mixed together, a little bit of yellow mixed in it. So you're going to be having a bunch of different shades over here in your mountains. Even in the reference image, you can clearly see how the mountain is not flat. It has a bit of dark color, it has a bit of the lighter color. And that's exactly what we're trying to achieve here. Looks of different sheets. You want your lighter, olive green shade, I would say a little bit of the darker black shade, a little bit of the mix between the black and blue. And eventually, the idea is to try and blend all of these colors together so that they appear to be in one single layer. And I'm going to repeat the same thing on the left side as well. Playing around with different colors. Some lighter green, some darker greens, obviously some of the black color that we have. So you're going to play around with that added and then completely fill up the space fair mountains. Since these are very far away from the observer, you will not be seeing a lot of details in part. So it's okay to not have a very detailed look for this particular area. It's fine if it's not that detail. But you should add a little bit of variety with the colors. Get that, because that really add into the way you are mountains or your heel locks. It should have a little bit of the light green, little bit of the dark green and not that. I really like the way this is coming along right now. So you can see how these two mountains of merged into one another. I know that we're done. We're going to let this dry. And in the next lesson we will be doing the background for our foreground. 29. Day 8 Part 2 : Poppy Field: Alright, so now that we're done with the either above the horizon line, It's time for us to create the background for our poppy field. So I have a mix of primary red, a little bit of yellow, and a little bit of white. This is the color that I get to this, the mix that I'm using. I'm going to use my flat brush and first applied right below the horizon line carefully. Now I'm doing this because it's a lot easier to have the red rest on a white surface so that color pops up a little bit more as compared to adding these textures on dream. So that's why I'm adding it first on a Blacks. And then all the flowers will add on the green surface that we will make right now. Now I'm using a mix of sap green, and just a tiny bit of black just to get a darker green color, swatch of the shade. And using this color, whatever whitespaces I've left in-between, I'm going to fill that in. So you can see I've just filled in that space. And I've done this because again, this color that you're seeing, the red color that you're seeing is really far away. So you're not seeing a lot of details for the poppy heads of the flower heads. It's just good to see a bunch of color in streaks just to show that a lot of flowers at that area. And then you are going to transition from this green that is slightly darker to a very, very dark green color, which is again a mix of black and sap green together. I'm applying that at the bottom and just using flat strokes and floods kind of blend everything together just so that there's a gradient between the lighter green and the darker green. The darker gray needs to be at the bottom because that is the Ada. We're seeing a lot of depth. So you want a very dark surface in that, in that section. Then, now that I've blended everything together, not properly, but just they're mixed together. I'm using two strands them strokes to create a little bit of texture on the surface, just so that it's not flat and it dries in that particular matter. I've just added random texture. I really like the way this looks now I'm going to let this dry. Alright, so now that this section has completely dried, we can add in all the details for the stems and the grass details at the background. I'm going to start off with my sap green mix. This is very little of the darker green color and mostly sap green because we want to start adding layers on top. I'm going to create a bunch of these grass shapes. I'm moving from top to bottom. You can come combine the strokes. You can go top to bottom and bottom to top as well. Basically, we're trying to fill up that entire section. I'm also trying to make sure that the stems are not really tall because we are seeing the details of the poppy field at a distance. So we're not seeing a lot of our close up of the stem. So you have to try and work on the sizing according to where you are standing or where your viewpoint is. The basic idea is to have a lot of slightly taller ones at the base. Again, not large ones, just as compared to what we are going to add. You want the taller ones at the base. And as you transition towards the horizon line, you want to decrease the size of it. They'll all depend on the type of brush strokes that you're making. So you can see on top of the tall ones, I am making slightly smaller ones and it flows on one line, try to make it random. So by random, I mean that when you're playing around with the sizing of the height of these graphs, try to bring in a variation between them. Don't try and make all of them the same size. But at the same time we are going to work in different sections. These sections will move from left to right. So you will have that transition from the taller ones at the base to the smaller ones on top. But when you play around with the sizing of red, let's say in the small ones also they are, there are different variations of the sizes of the small ones. You end up creating that randomness that you need for these kind of structures. You want to try and make it as random as possible so that it doesn't look like a pattern. And our human eye is very susceptible to forming these patterns and just recognizing them. When you're painting landscapes, you want to make sure that you are not making repetitive strokes. Because otherwise it ends up looking like a pattern and your eye will be easily able to catch that. And you will notice that, let's say you're painting something and you click a picture, your eye will immediately catch that button. You'll know, Okay, this goes here, this goes here, and this is a group. It's very easy to do that, so try to work according, accordingly and neural keeping this dip in mind, you don't have to move this glass all the way into the grass shapes that are around the red ones are the red color. You don't have to go into that just that section where the red dots you can stop there and just have that. Now the basic idea is we've laid out the base color for this, correct? We have filled up the space. We've got one layer n. We will add another layer over this. So you have to work in sections. Study you're adding layer over layer, and that's how you add in that effect of different colors in your poppy field. So one thing that I'm doing right now is using the dark green color. I'm just adding a little bit of texture and kind of getting rid of the whitespace is that I'm seeing not fully because we also have to do this with the red color. I'm just adding a little bit of textures that, that does not look like it's empty. So now that we're done with the cross shape here are the brushstrokes here. We are going to clean our brush and go for a lighter green color. So over here, I've mixed my sap green and a little bit of blue. And I'm going to add a little bit of white in that as well. So here's a swatch of the color that we have. Now use, the shade. I'm going to repeat my brushstrokes again. Now you will have to actually make the judgment as you go. If you're coloring is not showing up that much, you have to add in a little bit more of the white color in it. But sometimes the darker colors, they appear to be dark when they are wet and when they dry, they end up drawing a little bit lighter. You can just try and bring the variation in a way that it's not too light, but it's not the same color as the previous brush strokes. You'll have to tweak and mix your colors based on that. And that really helps also to bring in that variation. Because when you're working in layers, you don't want to go with a dark layer and then immediately add the highlight colors on top because that's not going to bring in that variation that works. You'd have to work in like two or three layers to really make that happen over you. If you've been following me for a while, you know, the concept that I go with whenever I'm explaining this. And that is, let's say you made 100% of the brushstrokes, that was the previous color, the darker color. So on top of that, you will add only about 75 per cent of that. Then on top of that, you will, let's see, you're going for a lighter color, then you will add about 50 per cent and then that's how you work with your brush strokes. So basically trying to preserve the previous brushstrokes at the same time, adding new ones. And you don't have to add so many of the new ones. And that's how you kind of preserving the different colors in your field. So you go for a light one, then you go for an even lighter one. Like over here I've used sap green and a little bit of yellow and white. And I'm going to create some more strokes on top. So this is my third layer. Over here. I'll only at about 50 per cent of the brushstrokes as compared to what I did earlier. And this acts as the highlights in my brush strokes. And you can clearly see, you're able to see the darker ones who are able to see a slightly lighter one. And then on top of that you will see an even lighter one when I start adding the flowers and add in some extra details, using your brush carefully, just go ahead and add in a few more strokes. Don't cover the entire section. Remember only few strokes. This is just the highlight of the grass fields, so you just need to add a little bit of those. Once you're done with that, you will let it dry. Over here. What I've done is added these strokes all the way up until the section where you're seeing the red starts right up until the early can see the brush strokes are very, very small at that Ada verified because majority of that section will get covered with a lot of details of the flowers and things like that. So you don't have to work so much on the detailing of that bot using this light green color. I'm also adding a little bit of texture on the green just to add a bit of variation in the shades so that that section doesn't look just flat and as is. So adding this texture really helps and adding a few more strokes wherever I feel like I should. I really like the way this looks and we're going to let this dry. And in the next lesson, we will add all the details for the flowers and stems 30. Day 8 Part 3 : Poppy Field: Alright, so now that we're done with the base layer, added a bit of details for the grass. It's time for us to move ahead and start adding the details for our flowers. So I'm just reactivating the paint on my palette and making more of it. So here I'm mixing primary red, a little bit of yellow, and a bit of white. Make sure that you're not adding too much white because that will completely lighten the color. So just a bit of white to sort of have that opaqueness in the sheet. And I'm going to use this color again to carefully add over the section that we already did first. Just make sure that you're covering all these whitespaces, that you have just created some more strokes if you think it's necessary. And you're just going to that is the way in which you work, especially at the arrow that is right below the horizon line. You're not seeing a lot of details for the flowers. So just kind of making these little lines and streaks that show that, okay, these flowers are together. They are resting there. You're not seeing a lot of details because it has really far away from the observer. Once you finish in that area, you will move on to the flowers at the bottom. So I'm just making sure that I'm covering all those little whitespaces that I have because it's very important. Next, I'm going to go ahead and create these little blobs. Now the shape of the poppy flower is really like a petal I would say, or three petal, lot to pedal to three battle or four petals. But since we're not seeing a lot of that in detail, because this is at a distance. You can create these kind of blogs, different sizes of different kinds of different shapes. You want to bring in a little bit of variation in the way in which you're resting them. And you could see slightly bigger ones at the base and acid transition towards the horizon line as you're moving towards that, the shape is going to be almost like dot because it's really far away. You're not going to see a lot of detail. Now, one more thing that you will notice is while this paint is still wet, it is a little bit dark and then it ends up being a little bit lighter as it dries. I've changed my brush because I wanted a brush that gives me really ties around rounded shapes. I'm going for a blunt kind of brush. It doesn't have very sharp tip sizes. Again, it's a size two if I'm not mistaken. And you can see it gives me those nights fine dots, but at the same time preserves that uneven shape that I need. You can use use any brush that gives you a shape like that. Right now we're focusing more on adding small dots, adding different variations of these dots. Like I mentioned, smaller ones when they are closer to that streak of red that you're seeing. And bigger ones when they are at the base. And you don't want to do this in a proper patterned way because you want to preserve that unevenness. Like I mentioned earlier, your brain is immediately going to catch if it sees any patterns going to connect the dots. So you want to make it as even as possible so that it doesn't look like a baton and there is a more realistic feel to it. So that's why I always play around with different sizes. I have big ones, but at the same time, I'll have a smaller one in the big ones section as well. So that's how you kind of play around with the different sizes and bring in a little bit of randomness into your painting. So immediately, now the painting is dry. Now that the layer is dry, you can see how the red has dried out a little bit lighter, correct? It has dried a little bit lighter. It looks a lot more vibrant than it did when you just lead the color down, correct? Now what I've done is just added a few more extra strokes, streaks of this dark red color wherever I felt like it looked empty. I just went ahead and added that. Now the next goal that we have is to basically add in a little bit of highlight on these flower heads as well. Because right now they look a little bit flat, right? So you want to play around with it and just add in a little bit of this lighter color on top. Right now, I'm just covering all those whitespaces that I'm seeing with this color itself. There are some white dots that I'm saying, so I'm just trying to get that to fill in an animal. So making these dots on the streets as well so that they don't look so flat, but they have a little bit of randomness in it. Now, I'm going with a mix of yellow, red, and white. So that's going to be the color that I used for the highlights. So here's a swatch of the color that I'll be using. You can see how it's a little bit towards the peachy side, right? Using this might, using my round brush and a scholar, I will be adding these strokes at the top, some on the left, some of them, it's very random. I'm not really thinking so much as to where I want to place them. I'm just placing them wherever. But keeping in mind that I want the highlights to be slightly on the left or on the right side or on the top. You can see immediately, or it adds a little bit more of this character to your poppy fields. It doesn't look that flat. You can do this on not all of them, just some of them. And using this color you can add in some streaks on the red streak that you had as well, just to show the variation of the color And just so that it doesn't look that flat. So here again, we're using that dry brush technique to just add in a bit of texture using this color. And you're going to add highlights on most of these Bobby hobbies that you are seeing. So just adding that color on top. And after that, the last thing that we are left to do really is to add in a bit of details for the highlighted stems. And then we are done. Right now I'm just going to add in this lighter color on my puppies to add it a little bit of random character to it, just a little bit of highlights to them. And then once you're done with that, you will clean your brush, switch to your round brush with a fine tip because that really gives you those fine lines, right? If you're using the same brush, that's okay. I'm mixing yellow, green, a little bit of black and blue and white to get a really light green color. So I wouldn't say it's a really light green color, but it is very light compared to all of the, all of the greens that we already used. I'm going to go ahead and add in this color right below all the puppies that I just made. Because these puppies just look like they're floating in air currently, right? They don't have a stamp to rest on. You're not seeing that detail using this color. You kind of add in that detail just to show that these puppies to have a stem that are just floating in air. Now, obviously you cannot do that to all of them, but majorly focus on the ones that are in the foreground. Because that's where you're really going to be seeing the details. You can just add in some streaks here and there at the back, along with stems on the puppy, like below the puppy, you want to make just some grass shapes here and there as well, just so that it is a mix of both these brush strokes. So right now, I really like the way this is looking. One last thing that we can do is add in some splatters as well. Just to bring in a little bit of variation, just to add in a little bit of character into it. I'm going to load up this light orange color and tap it on the bottom part. But before that, before I go ahead and do that, I want to cover the sky and the mountain so that I don't get these plateaus on top of that. I'm just tapping against another brush, pencil your finger, anything, you're going to get these plateaus in. First I have a splatter which is a, which is a nice peachy color and light peachy color. Next I have a slightly wider mics. I would say it is mixed with a little bit of green, but that is completely okay. So I've added a bit of splatter into my painting. Here. You can really have a look at the way in which this looks. You can also go ahead and add in some dots just to show that these are buds probably that are yet to bloom. Just a few little dots here and there. I'm just playing around really with the composition here, seeing what is calling me and just adding things based on that. You can totally skip this step if you don't like it. You have the creative freedom here, so you don't have to follow me exactly and do the exact same thing that I'm doing. I really liked the way this looks. And once it dries completely, we are going to feel the tape off. And, you know, we are appealing against or away from the paper so that we don't tear our painting. Once we do have our clean edge. I absolutely love how the painting looks because it gets the crisp edges and it's almost like staring at a picture and having a closer look at it. So before we go ahead and have a closer look at it, let's sign up in things. So make sure that you are signing your painting as you go. Because you've worked so hard for this, right? And I love signing my paintings because I feel like, okay, this is one other thing done, accomplished. I'm so happy with the way this lucks. Let's have a closer look at this. So you can see how we've captured the sky, the gradient in the sky, the clouds, the mountains. I really like the way the poppy field looks as well. It's not too detail, but at the same time, detailed enough to really tell where you are, what, you know, what the image is, what the composition is. I really hope you enjoyed painting along with me, and I shall see you in the night, which is coming soon. 31. Day 9 Part 1 : Autumn Leaves: Hello, Welcome to your ninth project. Here's what we're painting today. The colors I'm using are cadmium yellow. I have sap green. Next I have primary red. So we're using all the similar colors that we've used earlier. I have Prussian blue, jet black. And lastly, I have my white paint, which is permanent white. You can use titanium white as well. So these are all the colors that we're using. Get them on your palette and let's start with the sketching process. So here's a reference image on the left. You can download it from the project and resources section, so you have it with you as well. Now the composition of our painting today is a bunch of mountains in the background. You've got to see some of them may be two or three, we'll do that in front of it. We've got a bunch of trees of different sizes. Some are darker, some are in the transition phase of losing all their leaves. So you've got to capture all of that. Some sketching out a series of mountains, as I can see in the reference image. They're not exactly like what I'm seeing. I'm trying to change things here and there. I am changing things here and there depending on what I feel. So the idea is to add a bunch of mountains that you can see. I've got smaller ones behind one whole line that I've made. So behind that we've got a few smaller ones that are added distance that you're not able to see a bigger version of it. So just a few feet in front of it, we've got a bunch of different trees. I'm not sketching out the tree is completely because it makes no sense to do that. But you can just draw some lines to kind of understand the placement of it. And overall, when we are painting the whole artwork, we will go ahead and add that and sketch depending on if it's needed to sketch it out. This is a very simple composition really, we've got a bunch of a larger area for this guy. We've got a few textured clouds and the moon, so we have to capture that drop. So jumping straight into the painting process, I'm using my flat brush and we have to create that beautiful blue that you're seeing in your building. So for that, I'm going to mix my Prussian blue with white paint. If you notice very carefully, the blue is very light, right? So to achieve that light blue color, I'm using a lot of white. And it downloads a little bit to make it, to give it a nice evening Skype and a view. I am adding a little bit of black in it. So here's the shade of the color that I'm using. And I'm going to apply it right at the top. The consistency of the paint is not thick. Remember that? Because we are in the blending process, you want to ensure that consistency is almost like the milky consistency. So it shouldn't be that pic. And I'm going to go ahead and apply that on the top. Then load my brush with a bit of water and white. And I'm going to make it even lighter as we proceed to the lower part of the sky. And then make sure that you are blending the white and the blue together so that they have that nice blend between the two before they transition into the peachy or yellow, orangey color in the back at the bottom. For that, I'm going to mix my red and yellow and white together, very little red and yellow and a lot of white because we want a very, very light shade here. Here's a swatch of the color that I'm using, which is a mix of yellow, a little bit of red, and a little bit of the white color. I'm going to go ahead and apply that at the bottom. And this time I'm moving from the bottom to the top, right and we have to meet the blue color midway over here. Again, we will be using the blending with white technique. So if you know, notice and have followed all the class projects, you know that whenever we come across situations where we want to blend two different colors together, which is colors on the opposite side of the color wheel, such as yellow, orange with blue and things like that where, you know, you're gonna get a muddy color. We use a lot of white to make that seamless transition between the sheets. As you can see, I'm using a lot of white here to get in that blend. Where you can see a seamless and smooth transition between these two very light colors. I wouldn't call them really dark. They're very light shades. We've got a very, very light blue that transitions with the very light yellow, orange color at the bottom. You also have this little whitespace in the sky. And that's completely okay. Because that really helps you get a nice transition between them. Whenever you want. Very light transitions like the colors when they merge have to be very, very light. You end up leaving a lot of whitespace in-between and then work your blend accordingly. I really liked the blend here, so I'm going to leave it to dry and then we will add the clouds on top. Alright, so now that the sky is completely dry it up, it's time for us to paint a few texture clouds, horizontal clouds that you're seeing in the sky. So for that, I'm going to mix a little bit of my red color with a little bit of the blue color, and then add in a little bit of the black color and a bit of white. So we're adding the black to get that gray tone in it. We've also got blue and red in it with a little bit of white. Whenever you wanted like to color, obviously we add a white. We know that with gouache. And I've added a little bit of white to tone it down a little bit because I felt like it was too dark. Initially, the mix that I made using this consistency and a thicker consistency, I'm going to go ahead and add these horizontal clouds. Now over here, we have done this in the past and you know how the brush movement is, right? It's almost like an acute angle from the paper. And you are making these horizontal strokes together. So you want to make very, very small movements in your brush. And small movements in your brush is going to ensure that you get that beautiful horizontal clouds. It's not the fluffy clouds. You really don't have to work on making rounded edges is just some texture clouds at a distance. So first, we will add this color, which is our gray color. On top of it, we'll add up the lighter shades that we're seeing. So if you look at the reference image or you get a better idea of the colors that you're seeing in the clouds. Obviously, you can change the shape of the clouds. You can add a little more clouds if you'd like, That's completely fine. You can also change the structure of the clouds. But overall, you get an idea of what the clouds look like are, the colors of the clouds are, right? So I've just added a few clouds. And now that I'm done with this, I will go ahead and mix the orange color that I'm saying. I'm going to mix my yellow with a little bit of the red color. So I get this nice orange color and then to tone it down, I'm going to add white in it. So as you can see, it comes to this really nice. Our peachy shade, which is darker than the color of the sky. It has to be darker than the background layer so that it shows up. I'm going to go ahead and add this color on top of the strokes that have already made just to bring in that lighter color to the clouds. Just like we did in the fifth class project where we added a dark bluish, grayish clouds. And on top of where the sun was, we added warmer clouds, right? So a similar concept, just the colors are different. Then I'm adding a little bit more white into that, just so that I get an even lighter color. And I will just add some strokes on top of the orange that I've already added. And then the basic idea is to get all of these to blend with one another so that they appear to be one single shade using a clean brush, just water, maybe just a little bit of water. I'm gonna go ahead and reactivate the paint and get them to sort of blend with one another so that the strokes don't look like they are resting on top of each other. Next, I'm mixing a bit of white, yellow, and orange again to get in a little darker color compared to the ones that we have earlier. And then add in a few strokes under odd next to the grayer color, just to add in some more kind of clouds. And then right below that, I am mixing it with the gray that we mixed earlier, the darker gray. It does have a little bit of that orangey, burnt orange color to it. And then I'm adding that under the darker orange that I laid out. Basically you are just playing around with the shapes that you are saying. And sometimes when you lay down the color it dries lighter. And I felt that this happened here. So I went ahead to mix this darker color and I'm adding it at the bottom. And then again with a clean brush, I will just get everything to blend with one another so that they look like a single entity and not different layers, just resting over one another. So whenever you're painting clouds, these type of horizontal clouds, you can lay the colors next to each other, but make sure that you are using a clean brush to kind of just get rid of the harsh edges and get the clouds or whatever you're working on really to kind of blend into one another so that they don't look like the layers are just resting on top of each other. Very minimalistic clouds here. I really like the way this looks. So the next thing that we're going to do is paint the moon. For that, I'm going to use my round brush, the smaller round brush, and carefully make a circle. And we are going to make them as small, small, tiny circle is all we need to make the moon. And once you're done with that, you're going to let this dry. The next lesson, we will be painting all the details for the series of mountains that you're seeing. 32. Day 9 Part 2 : Autumn Leaves: Alright, so now next step is to start painting the mountains. Here I have a mix of red, blue, and black with a bit of white. So it's like a grayer color with that oh, Polish undertone. But it's also slightly lighter because of added a bit of white in it. Right? So that's the shape that I have. Here's a swatch of the color that I'm going to use. And now what I'm going to do is using this shade. I'm going to go ahead and start making the mountains. I'm gonna go ahead and just outline the first set of mountains that I drew. Now, it doesn't have to be exactly in the same format that you did earlier. I am just going over and making that in dissection as one single mountain instead of having a bunch of smaller ones that I sketched earlier. And for the inner part to fill in that section, I'm going to go ahead and load my brush with a little bit of white. I'm just kind of a blending that in with my brushstrokes. And then I'm just going to fill in that section up until the second set of mountains that I see. This is the first set of mountains. I'm going to let this dry. And once it's completely dried out. So I'm gonna go ahead and paint the next one. So basically the next one has to be slightly darker than the one that you made earlier, right? So I'm gonna go ahead and add in a bit more black into my mix and just kind of get the color to be a little bit more darker. So I'm adding a bit of blue, a bit of red, and trying to get the color to be darker. And he had a swatch of the shape that I'm using. Now using this color, I will go ahead and outline and go over the sketch basically audience, go ahead and make a bunch of different strokes below the mountain that you've already made. You want to try and get the mountains to be placed in a way that the background, the one at the back, is kind of peeking through in-between the mountains that you're going to make in front of it. So you want to make sure that they're alternating at their peaks so that they don't feel like you don't cover basically the one that you made in the back using the same color and a little lighter consistency. I'm just adding it and filling up the entire section right below where the next one starts using a bit of white, a little bit of white in my brush, I'm just adding some strokes to add up some different fellows in the strokes and it's very uneven. And that's exactly how I want it to be very uneven so that when it dries is a variation in the sheets. I really like this. We're going to let this dry. And once it's dry, it's time for us to paint the next one. Now for the next one, I'm going to go for much more like a greener mix of color instead of just a darker black color because the trees that we have in front are going to be black. It's better if you have a greeter background to it. So I'm trying to get away gray color, It's a mix of little bit of blue, a little bit of green, black, and white, and just this muddy gray color that I have, that is going to be the shade that I used for the mountains in the background. By using this color, I'm just going to kind of apply. And the basic idea is to fill up this entire space that you're seeing at the bottom because you've got a lot of trees in front of it. We have a lot of different colors of freedom front of it. It doesn't really matter what this layer does. Just to show that there's a background color to it. Now with this green gray mix that I have, I'm also using a little bit of yellow. So again, just adding different variations of shades because this area is not going to show up so much. It doesn't matter what it looks like. You're just going to kind of like have a peak of this shade through the brushstrokes that you will be baking the tree, brush strokes that you'll be making in front of it. Now I'm just going to switch to my flat brush because it's a lot easier to fill up a larger surface using this brush. And you can see how I'm just roughly adding brushstrokes. And the basic idea is to just fill out this entire space and get it to just be in one single layer. Along with the lighter colors. You can also add in some darker radiations and add in some strokes like that. Again, it's not going to show up so much time focusing majorly on the top part of the mountains because that you might see a peak of that color through the trees, but at the bottom, it really doesn't matter what it looks like because we've got a bunch of trees in front of it. So I'm going to let this dry. And once it's completely dry, you can see what the colors look like. Once it's dry, we've got a bunch of darker green a mix and then some lighter ones. And now we are going to go ahead and start making the mix for the trees that we see. I'm going for a very, very deep green shade, which is a mix of my sap, green and black. So a lot more black and just a tiny hint of green will give you this deep green color. And this will be the shade that I use for all the trees that are in the background, right? So we're going to have different variations of the trees and you also don't have to bring the trees to really look exactly like one another. The more random they are, the more original and more real they feel So I'm gonna go ahead with the fine brush strokes. So one trunk in the middle and then just some left and right strokes. We have done pine trees in the past, in the previous class projects. So I'm pretty sure you have a hang of what it looks like because this is in the background. I'm not going for a very detailed kind of pine trees, especially the smaller ones that are making, you can see the size comparison, right? So these ones are really further away. That's why they're small and I'm not bringing it all the way down because we've got that yellow tree in front of it. So it just covers up this entire surface and the area in front of it. You can just make thick strokes and bring it down. So either way anything works. I initially thought I will not bring it down and then I felt like, okay, let me just bring it down just in case there's a peek through. It shouldn't look odd. Right? So I've got that and I'm just going to vary the sizes of the pine trees that I see. Some of them can be smaller just to show that viewpoint that it is further away from the observer. And some can be closer to show that that tree is still slightly closer to the observer, like I was saving. See that the green layer of the mountains are just kind of just like peeking through. There isn't a proper viewpoint of that mountain. Just seeing a little bit of it. Just throw it on the top of this to small trees that we have. And then just through the branches of the other ones that you are seeing, just you'll be seeing it exactly like that. Only along with that, you can see how the brushstrokes that I am making for the pine trees in very detail, very randomly placed. I'm just focusing more on trying to capture the shape of the tree. The brushstrokes a lot more defined. Defined as in they're very thicker as compared to very fine, fine brushstrokes that we've done for some of our pine trees in the past. So over here, I am, like I mentioned, we'll be playing around with the shape of the tree, the sizes of my tree. So I will have small ones, big ones. And basically trying to cover the entire section in the front, which is from the left to right. I'm going to cover the entire section with a bunch of different sizes of my pine trees. I'm going to leave you to this, enjoy the process of this reparative brushstrokes and adding the trees. There isn't anything different that is happening yours very repetitive. The basic idea is to fill up this background with a bunch of different trees. You can use different shapes of trees as well if you'd like. If you don't want to do this exactly, please feel free to change this tree. You, I have always said you have the creative liberty to change things please do, and make something that you like and you're feeling in the moment. It's okay. Just go ahead and enjoy the process and I'll catch you in a bit when I explain what we're doing next. Alright, so basically what I've done here is I've got a bunch of these five-sixths trays adds one section and the tree that I'm going to make next to this is going to be an individual tree that is kind of more in the foreground, I would say. Since it's larger, we're just going to focus a little bit more on the detailing bit. I wouldn't say it's a lot of detailing. But you can see how the structure of my trees is mostly having these left and right branches moving upwards. And then you've got that random strokes around it to show the pine needles. I would say it's a full pine tree. And my interests come in a lot of different shapes and sizes, right? So I'm making a very larger one here. It's a lot more closer to the observer. And as I'm coming down curve increasing the size of these branches, there's two focus mostly pointed upwards, right? So all the sub branches that are coming out are pointing upwards. That's exactly how I'm making this. And you can see how there is a major transition between the sizes of the trees. The ones on the left are a lot more smaller. And this one is a lot more larger. So you will be making this entire tree all the way till the bottom. So over here you can see how the brushstrokes are really large. And they are placed in a way that it kind of moves upwards and expanded as we go. So it kinda just increases in size. The span of my tree kind of increases. And the brushstrokes are very, very randomly placed. I'm doing it very quick. You can pick your own sweet time to do it as well. I like to finish certain times. I get this excitement to finish things fast. And that's how I end up making a lot of different strokes are all at once. So a lot of times people ask me, How do you do this, you know, how they do make this brush stroke or how did you get this done? And I'm mostly like, I really don't remember because I was just doing in very quick. The main goal was to finish it off. So don't be like me, they could own sweet time to understand and complete your painting. I really like the way this looks. I added a few little branches on the right just to show that there is a part of the tree that is peeking through my painting. Right now, we're just going to see if you want to add in some more trees in between the trees that you already made, some brushstrokes that you'd like to add. And once you are happy with the way this looks, you are going to let this dry. This is it for the part two of this project. And in the next project, we will be painting the yellow tree. So a lot of different shades of yellow will be coming in. And I will see you in the next lesson. 33. Day 9 Part 3 : Autumn Leaves: Alright, so now it's time for us to move on to the yellow tree that you see in the reference image. For this one, I'm going to be using a flat brush and spoilt brush to create the textures. If you don't like the actual effect, you can also individually paint these using the brush strokes as well. Very similar to making branches and leaves. I wanted to go for a textured feel. So I'm using my fan brush. I'm using a mix of my yellow and my red, my green, and a bit of white. So this is the shape that I'm mixing, green, yellow, red, and white together. And I'll just show you a swatch of the shade that I've mixed. This is the shape that I have, will be working in a lot of different layers, so it will have a darker one. And then on that we'll add in a lighter one and then a lighter one to create that effect. Using my fan brush. I'm just gonna go ahead and tap the corner of my brush and carefully add in the picture. Now if you're not comfortable using a fan brush again, you can use a spoilt brush as well. The one that does, does not have a proper shape. The spoiled the bristles or the hair of the brushes everywhere. So you want to go for a brush that will give you that kind of textured effect. Now I'm going to use a nice light consistency, I think consistency of the paint. And I'm just going to add it in different sections so that it looks like the branches and the leaves together. Now, we will add two layers then make the branches to understand where the placement of the branches are, then added some lighter strokes over it. So as you can see, I've just added some texture using the corner of my brush. And once this dries, I really liked the way that slope. So once this dries, we will add in a layer on top of it. Alright, so now that this section is completely dry, you can see how it has gentle, a little bit deeper than I thought. So we're gonna go ahead and make another mix this time adding in a little more white in the mix so that it stands out. It's a little bit lighter as compared to the previous layer. So I'm just going to be adding a little bit more white. So I'll just show you a swatch of the color that I'm going to use. Here is the swatch of the shade. You can clearly see how this one is lighter than the previous brush stroke. And then again, using my fine brush, I'm just going to go ahead and add in some strokes. Now over here, if you notice very carefully, I'm not adding it everywhere. Guided audio. You want to make sure that you are leaving a little bit of space where you're able to see the previous color as well. So you just want to add a few brushstrokes. The brushstrokes are everywhere, but still the quantity of the brushstrokes are dead. So it's pretty much using the same concept that I always talk about. You are adding about, let's say, 75% of the brushstrokes on the layer as compared to the previous one, right? So I really like the way this is adding a little bit of character to the branches and leaves that I'm going for, I'm going to let this dry. And now that this has completely dried, It's time for us to add the branches, right? So I'm switching back to my round brush. I'm going for a mix of my red and my black paint with a little bit of yellow and white together. So I'm just trying to create a brown color. You can mix your yellow, red, and your black with a little bit of byte. Here's a shade that I get. It's a deep brown color. And carefully, using this color, I will make a bunch of branches. Now, you don't have to really focus on the layers, the branches being on top of the previous layer because we will go back to adding these strokes and adding the details. So just go ahead and make a bunch of branches that you wouldn't normally make in the same format that you would normally meet. These branches are everywhere kind of covering the structure that you have. So you have to look at the structure that you have on your painting and add in a bunch of branches depending on that structure. Obviously other thicker branches at the bottom and the thinner ones at the top and a few sub branches. So here's what mine looks like. Once this dries, we switch to our spoilt brush. So if you're already using a spoilt brush, you can use that itself. I am going with my small brush here because I want a little bit more control over the type of brush stroke that I'm making. So have a mix of my red, my yellow, and a bit of white. I'll show you a swatch of that color. So here's the color. It's a lot more towards the orange side, I would say. And then using this color, I'm going to add in some strokes on the top of these branches that I made. So make sure that you're not covering the branches completely because then that makes no sense for you to have these branches. I'm just gonna go ahead and add on top, especially at the top part of it where the sub branches are. And I'm going to add in a bunch of strokes. Again, make sure that you're not adding so much because you want to be able to see all the different layers that you have. Just a few strokes of this color. And you can see immediately it is a little bit More towards the orange side as compared to the previous layer. And that's exactly how I wanted it to be. On this, we will add in a lighter color so that it shows up a little bit more. But you can see how adding this section or this layer over the branches really creates a sandwich between the previous two layers, the branches and this layer and the layer that will add on top of it as almost like the branches are in-between. It's almost like creating that sandwich effect with the branches. I really like the way this is turning out. Once this layer dries completely, we are going to go ahead and start painting a lighter shade on top. So I'm using a mix of yellow, a little bit of red, and white to get a lighter color. So here the swatch of the shade that we have, they're using this color. I'm going to go ahead and create my highlights from the structure. So just a few strokes here and there. And you can see how the different brushes gives you that different types of brushstrokes. This one is a little bit more spread out. So you get a variation of, I would say, slightly thicker or random strokes in combination with a few dots, few smaller ones in, in and around the bigger ones. So using a different type of spoiled brush or even a different size of the spiral brush can make a major difference in the way you can create these kind of textured effect. I will suggest that if you don't have a spoiled brush, but you have an old brush that you don't mind running, then you can create a spoiled brush using an old brush as well. So all you have to do is just kind of sit down perpendicular to the paper, ensuring that the hair spreads all over. You can create that kind of spoiled brush with an old brush as well. Now we've added a little bit more white into the same mix and adding a few extra strokes just in certain places. But I, but I feel like a lighter color would look good, not adding so much at all. And you can clearly see that sandwich thing that I was talking about that you've got the background two layers, the branches and the two layers on top. I really like the way this is coming along and this is probably the last step. I am pretty sure is the last step. Every time I do this, I actually take a step back and think if there's anything else that I would like to add. But I think we're done. Once it's completely dried, you're going to peel the tape off. Make sure that you are peeling away from the paper. If you've been following the challenge, you as opposed to peel off the tape away from the paper so that you're tailoring your paper. Once you get that nice border, you can see how the painting really pops. The artwork looks a lot more beautiful than it does with tapes all around it. I love having clean edges in my paintings. Make sure that you're signing your painting because that is a very important you've worked so hard to get a painting. So make sure that you're assigning. Let's have a closer look. I really like the way the sky looks here, the clouds, the trees, everything just gets along, goes along really well. I am so happy with the way this artwork has turned out. I hope you enjoyed painting D9 project with me. In the next lesson, we are painting this 34. Day 10 Part 1 : Beautiful Spring Day: Hello, hello, Welcome to your death class project. Here's what we're painting today. The colors that I'm going to use is cadmium yellow. Next I have sap green. Next I have Prussian blue. I have jet black and white, so I have permanent white. You can use titanium white. These are all the colors that we're going to use. Let us begin with the sketching process. Alright, so first, what I've done is they've done my people on all four sides, taking the colors out on my palette, as I mentioned earlier, we're going to start with the basic sketch. For the sketch, you can clearly see that the composition is almost like you've got a here. We've got a bunch of details to add on the hill, the slope that you're seeing. Behind that we've got a bunch of trees and a beautiful mountain and a beautiful sky. So the first thing that you'll do is sketch out the slope. So this gives you an idea of what is in the front, that is all the greens and the yellow flowers and things like that. At the back, we've got a bunch of different trees, bunch of different pine trees. And there are combination of different sizes and shapes. So you can see how we've got all these vertical sections that are the trees. And we've also got a little bit of a cluster of trees at the back where I'm just making these uneven strokes on top of the slope that I've already made. That is going to ensure that I fill up that space so that we're able to create that kind of effect in our painting process. Now, I really didn't like the way the slope loved. I felt like it was really high up. I wanted to capture more of the sky. I went, I went ahead and made a slope slightly below. And the structure remains the same. We've got the same number of trees that I mentioned earlier. It's just that the positioning is a little bit different. Behind that, I'm going to go ahead and make the mountain that we're seeing. So you want to capture the shape of the mountain that you are seeing. So it kind of comes down and then goes up into the peak and then comes down again. So you want to look at the reference image. You can pause and really analyze it or even downloaded from the Project and Resources section and look at the image. And I'm just kind of creating that basic sketch. We don't really have to sketch the details out completely because it gets covered. So it makes more sense to do it as we go. But here's a basic composition. Let's start painting. We're going to start off with painting the sky. So here I'm using my flat brush and I'm going to create a mix of like my Prussian blue, my white with a little bit of black in there as well. So I'm going to mix these two colors together. Make sure that you're using a lot of white in it and a very tiny amount of blue and black. Because if you use more of the paint, then the color is really brighter. We want to tone it down a little bit. And that is why white comes into play. Consistency of the paint. I'm pretty sure by now you really know what I'm talking about because it's been ten days. And if you've been painting since the beginning, you probably have caught a good hang of things, how they work. You've got a hang of the medium as well. So I have all my faith and confidence in you that you understand what the consistency should be. Right below the blue that I laid out, which was the darker color. I left a little bit of space because I just want to use white into blending the colors into one another. I don't want the sky to be just very blue from the top to the bottom till the mountain that we're seeing. I don't want it to be just blue. And that is why I opted for a gradient sky. And if you've watched the technique lesson, you know how we create the gradients or even the previous class projects. You know how we create the gradient sky, right? So we go with the darker blue at the top. And you want to make sure that you are blending in that left and right motion, even if it's not completely straight, even if you're blending at an angle, you want to make sure that you are going with that flow, which is the to and fro motion so that the blend is nice and seamless. As you come down, you want to add a little bit of water so that you're able to lighten up the color. Now, this color with the lighter color will dry out to be a little bit darker. So keep that in mind. When you're blending. I really liked the way the dark and the lights have merged into one another. And you're really able to see the gradient sky that I was talking about. We're going to let this dry and then add the clouds. Alright, so now my base layer has completely dried up. It's time for us to add in the clouds. For the clouds, I will be using my white paint, which is a thick consistency of white paint. The way in which I'll add my clouds is very similar to the poppy fields class project. So you remember how we worked into layers, right? We have the base layer and then we added some highlights on it to make the clouds a little bit more opaque. So we'll be doing that exact same thing here. Again. We will only be changing the shape of the clouds. So you can take inspiration from the reference image. I have done that. I am only going to focus these clouds on the left side of my painting. So all the different or horizontal stroke that I'm making for these clouds, even though they are not exactly in the same shape as we see in the reference image. I'm just going to walk around with the placement of it so that I'm still able to capture That kind of effect in my painting where the clouds is on the left side of my painting or the left half of my painting. So I'm doing the exact same thing here. You can immediately see that when I lay down this fight paint, it does show a little bit of the blue and it's not standing out so much. And that is completely okay because we will have to let this layer dry completely. And then on that add a little bit of highlights so that we're able to see the opaqueness of the clouds, right? Along with the bigger clouds that you are making to make some nice floating clouds. But I don't want to overdo it. I'm just going to stop here and let this dry. And as you can see, once it has dried, it has gone a little bit opaque as compared to when you initially laid out the stroke. But I wanted a little bit more opaqueness to it. So I'm going with a second layer and I'm adding it everywhere, focusing more on the outside of the shape. If I were to save, focusing more on the outside will make the auto structure be more opaque and the inside be slightly more of the color that it is, which is not pure white or very deep white. And I really liked the way the clouds look right now. They are opaque. You can really tell it is a cloud because the background is very light as well. So to make the clouds stand out in front of the background as well, I went ahead with a second layer and you can immediately see that opaqueness has come through. You really like the way this is looking right now. While this is drying, we'll focus on painting the mountains. For the mountains will go with a very kind of like a beeper, Prussian blue color. So I'm going to mix my Prussian blue and black color together to get this deeper shade, right? So it's a mix of Prussian blue and lack of whether there's a little bit of white, I would say because it's not that light or color, but it's still does have a little bit of white in it. This is going to be the shade that I use and I'm using my flat brush itself carefully outlining the sketch that I made in case of sketches gone, please make sure to sketch it out again. Are just roll with it. Do it freehand, It's completely fine. The idea is to get the shape of your mountain. I'm going to go ahead and just fill in that entire structure with just a little bit of water and a bit of white bean. So that I'm able to capture a little bit of lightness in that area. So once you are done with the main outer structure while the paint is still wet, we'll go ahead and add these strokes that will show us the difference in the way the structure of the mountain is. What I mean by that is I don't want it to stand flat. I wanted to have the ridges. I wanted to have that viewpoint where you can see kind of like the structure of the mountains. That's why I'm making this diagonal strokes on the left and diagnosed trucks on the right to bring in that sort of effect. Once it dries, it will look a lot better. And one thing that you have to keep in mind is to do it when it's still wet. I really like the way the mountains look. Let it dry. And in the next lesson we'll be painting the trees in front of it 35. Day 10 Part 2 : Beautiful Spring Day: Alright, so now that our background layer has completely dried, that is the sky in the mountains and we're done with it. You can see how that brush stroke has created that effect of the structure of the mountains without having to do a lot of work just on wet paint. We were able to create that kind of effect. Starting with that, we'll focus on creating the trees that you're seeing, which is kind of like in the middle of the two layers. That is your background, sky and mountains. Obviously your heel that you have the slope that you're supposed to paint. So it's kind of in-between those two layers. Some sketching out the slope again, just to give myself an idea of where the slope is or where the greens are going to come in later. And using a mix of my green and my black paint. So I'm going to create this really dark green mix that is shaded I'll be using, and it's time for us to go ahead and create the trees using this color. So you can see how it's a very, very deep green shade. And I'm going to use my round brush for this. So my round brush, as you know, we'll give you more precision for all the detailing that you have to do. Over here, you will be playing a lot with the different sizes of it. So again, if you look at the reference image, you can clearly see that the tree on the left is kind of small. So it kind of brings in that viewpoint that this tree is really at a distance even from this logo, just seeing kind of like a very, very tiny size of the tree. And then as you proceed towards the right side, you're going to see a little bit more details. A little bit more because sized tree. So that's how you're able to play with your composition and the viewpoint of the observer. So I've got two or three or one, actually one major tree on the left side and just feel that those strokes around it. And in the middle, I will make another tree, which is a pine tree. And the structure is very similar to the one we made in the previous class project because the stems are, the branches are really moving upwards, I would say, instead of going downwards. So you can play around with the structure of the tree as well. You can look at the reference image to understand the composition and the shape of the tree and where you'd want to place them. I wouldn't go around and really play around with a bunch of different sizes of the trees, like I mentioned, you've got some trees as-is. Then as you move towards the right side, you will have some trees. A little bit of a hilly region, like the small rocky region or something like that which is blocked out. It's just plain luck or plain dark color rather of this dark green shade. And you will add that in. So I'm just going to leave you to it. Feel free to change the positions and the sizing of the tree as well. As well as the location of these trees. You can change lots of things if you feel like it and just enjoy the process of creating the structure. Alright, so now that my base layer has dried for the trees, It's time for us to add a bit of highlights to this, add a bit of color to this so that it's not just plain dark green shade. So I'm going to mix in a little bit more green into my black mix, get a lighter shade. I'm assuming that the light is falling from the left side of my paper, right? So I'm going to go ahead and create a bunch of different strokes using this shade on the left side of my structure. So all the trees, you will see that I'm making these strokes only on the left side and leaving a little bit of half and the right side empty. And make sure that you're not making it in a line so that it looks awkward. Don't do that. But try and create and focus more on the left side. You can create a few strokes on the right side as well. But makes sure that you add that sense of randomness in it because it's not just going to be on the left side exactly. And not just the money left on the right side. You're going to go ahead with two different shapes. So one is this green that we just used. And then you're going to add in a little bit more of the sap green into the same mix to get an even lighter color. And using this color, you will go ahead and add in a bunch of strokes, again, focusing on the left side. This time a little bit lesser in number. By now you know how we work in this layer, right? You go ahead with 100%, 75%, 50%. You know what to do. Just a few strokes on the left side is to create that sense of highlight into it. It might appear dark when you just lay the color down, but that's okay. Once it dries, it might dry a little bit lighter so you can test it out with a couple of strokes to see if the color is drying out lighter. So I'm really done with the trees there. I'm not going to add in any more details to that. And now I'm going to focus on creating the background layer for all the on the hill. So I'm going to mix my sap green, my Prussian blue with a little bit black. So that's the color that we have. We're going to have a deeper green shade. And then we'll play around with lights and darks, like we did in the stand-alone tree that we did in the previous class projects. So I'm going to go ahead with this shade of green, which as you can see clearly is very deep color. I'm also making a lighter green mix using my same brush. I'm not really cleaning my brush. I'm just adding a little bit more green into a different section, different puddle, and using this lighter green color, first, I'm going to go ahead and outline the hill properly so that I get to know where the greens are going to be. I'm going to just randomly switch between this light green color that we have, the darker green color that we have. As you can see, it is not flat, right? I'm not making that flat stroke. I am making it very uneven because I want it to be uneven. This hill has a lot of uneven ground space. It's not going to be flat. And that is why we are playing around with the way in which we laid the colors down. So we've got the darker greens and then we've got the normal green. And then I'm switching between the dark greens and the normal greens. You're going to do this while the paint is still wet so that it blends into one another. And that blend is seamless. You'll have to kind of move quick. That's why we made those two blends at the same time. So that when we go ahead and lay it out, put able to switch between the colors very quick so that it blends into one another. So you can see how you've got light and then dark and then light and dark and then light. I'm going with dark again. This time I'm kind of thinking I will go with dark all the way with just a little bit of the light green because this area is very, very closer to the observer, is going to be seeing a lot more depth. And hence we will be adding a lot more of the deeper green shade that we had. I'm just going to make sure that I fill up this entire space using this color. Once you're done with that, you're going to go ahead and add this cross shape using a flat brush itself. I'm just adding some random strokes so that the blend in the background doesn't look really flat. So just a few vertical strokes here and there to kind of show the depth of the stems that you're seeing. You can do the same thing with the lighter green color as well. And even at the top of the hill, try and bring in that unevenness. These strokes are going to just dry out and we'll be adding a lot of layers in it. But it's still Ad Set effect in the background. I really like the way the background for the head has turned out. So we're just going to wait for this to completely dry. And in the next lesson we will be adding all the details for the stems and the flowers 36. Day 10 Part 3 : Beautiful Spring Day: Alright, so now that we're done with the background layer for the hill, it's time for us to add all the details for the stems and flowers and all the phones that we're seeing. So we're going to go ahead and make a mix of sap green with just a tiny bit of black. So you're still with that dark green. And just like how we've done a lot of our class projects before. And that is to work in layers. So whenever you are seeing these dark colors that we laid out earlier, is going to be the area at which this grass is going to rest. I'm going to go ahead and start making these strokes from top to bottom and true bottom or top, just like the grass shapes that we learned earlier and have applied in a lot of our class projects early on, you're gonna be doing that same thing, but focusing majorly on the edges where the darker colors is. And that is exactly why we added the darker color for this to act like a background layer to it, so on this will add even lighter shade and then even lighter shade. So we'll work our way up to the lighter color. And the darker color is going to act as the deeper shapes. You're going to go ahead and start making a bunch of these strokes. Keeping in mind those sizing of it. When you're reaching at the top of the hill where the green has just started, the strokes are gonna be a lot more final. But as you can see at the bottom, I've gotten some larger sized brushstrokes that because that is a lot more closer to the observer, correct? That's exactly how you will be working in sections. So make sure that you are keeping the sizing of your brush strokes in mind. Other than that, the direction does not really matter. You can make its way from left to right and whatever way you'd like. It doesn't matter. You don't have to follow that. But the only thing that you have to keep in mind is the sizing and that you have to rest this on top of the darker colors. Now, as you can see when I've listed on the darker colors, you can really see how it's drying out to be a little bit lighter. And it's showing up a little bit for now using this dark color, wherever you have the empty space, where that is the green that is already there in which we have not done anything. You will just create that dry brush stroke and just kind of add in a layer of texture on it. We will add more textures on it later with lighter colors, but just so that it doesn't look that flat, we want to go ahead and add a layer of texture with this color results as well. Now, I'm going to make a lighter mix, which is just my sap green with a little bit of black, but more of the sap green quantity. You can add a tiny amount of white in this as well. And you can go ahead and make some more strokes, keeping in mind that the number of strokes that you make now will be lesser. So again, applying that rule where you have fewer strokes as you come towards the lighter color, the darkest one is going to be the most. Then as you like to get to those, the lighter colors, the brushstrokes, brushstrokes will reduce. It's almost like working towards the highlight. So you can see how I'm only making a very, very few brushstrokes using this color. Again, if you'd like, you can also add a little bit of texture using this color as well. All those empty green spaces so that it doesn't look so flat. Alright, so now I'm mixing my sap green with a little bit of yellow color. So you can add a little bit of yellow to make it a little bit more warmer, I would say. So sap green and yellow is a good mixture to work with when you want a color like that. And into that you can add in a little bit of white to make it slightly more opaque. And then using this color, I'm gonna go ahead and add in some more strokes and you can see how the number of strokes I'm making right now has been reduced. So it's very, very few brushstrokes that USE that have this color. And that's exactly how we are working. So again, you're going to be repeating the same steps. But this time with even lesser brushstrokes, It's almost like just adding a few highlights using this lighter color. The direction in which you make the brush strokes does not matter. So keep that in mind. Like I mentioned earlier, you can sway them left or right. It doesn't make that much of a difference. But do remember the location where you're making these brush strokes. So that is the only thing that you'll have to actually keep in mind when you're making these brushstrokes. Now, I'm going to make a color for the flowers that is going to be a mixed of my yellow color with a little bit of white just to tone it down and make it slightly more opaque, I would say, for it to stand out more on the contrast, contrasting green color that we have. So that is the shade that I'm using for the flowers. I'm not really focusing on a particular shape. I'm going with just blogs. You can go with proper shapes as well if you'd like. It's completely your preference. I'm just going with little dots of different sizes. Again, keeping in mind that the one that is on the top is going to be smaller because these lines are further away. So you're not seeing the exact shape, I would say, or even a larger shape of it. But as you come down, you will have to slight increase the shape because we'll be saying more closer view of the flower. So the sizing of the flowers is going to be a little bit more. That's how you play around with the positioning of your flowers and also like to bring in that concept of distance in your painting. So the things that are further away will appear smaller and then the ones that are closer will appear bigger. So you just go ahead and enjoy the process of adding a bunch of these little random strokes on your status that you just made. Alright, so I really like the way this looks. We have used a combination of the bigger strokes with smaller strokes, especially at the bottom. And I feel like there is something missing that is the flowers on the leftmost bottom. I felt like if we could cover it, it will look a lot for better. And instead of adding stems, I felt I will just add in some flower heads and then work our way around it or later on when you're adding some more details. But I felt like that was the only thing that was missing. So I went ahead and added that. I want to do an audio flourishes, just going to let this whole section completely dry. And then we'll be adding some more details. Now that all my flowers have dried up completely, it's time for us to actually give our flowers. But of base to rest on, right? They have to have a stem on which the rest, I'm using a mix of my Prussian blue and black color. And right under each flower, I'll kind of give it that stem that it needs and also draw a little.in the middle for the pollen part of my flower, I'm just going to go ahead and make a dot and just brushstroke downwards to show that that's the stem that it's resting on. You'll be doing this majoring in the flowers that are closer like almost at the bottom. And the other ones, you don't really have to show that you could make a couple of strokes just to show that you are still able to see a few stems with this darker color. But you don't really have to go all the way towards the top with the darker color. So as you can see, I'm making dots on some of the flowers and some of them, I'm not doing anything because I want to maybe bring in the point of view that it's a side view of the flowers and not seeing the poll and part of it. So that's how I'm just playing around with it. I'm not really thinking so much, honestly speaking. I'm just enjoying the process of adding these stems in my painting. If you feel like you're black color, the darker color that we use is too dark, then you can mix in a little bit of sap green in it so that it doesn't look so harsh against the background that we have. That wouldn't be really helpful. So you go for a darker color, but still at the same time It's matches with the background. You could add in a little bit of green. Now I'm going with a very, very light mix of green, which is a mix of sap, green, yellow, and white. It's a very light green mix. So this is going to be the color that I use for all the highlights. I'm just adding a few more brushstrokes using this color. Just adding just random strokes. It doesn't have to be exactly grass. Like. Good. It's kinda making some random strokes, wiggly lines as well, show different types of brushstrokes that are existing in this area. Once you are happy with the way the stems look, and you're happy with the way this whole structure looks. We are going to add in a little bit of texture into our painting. And you can add that texture by just using the dry brush stroke. And I'm filling all the empty green spaces that I see with this color because I felt like it looked too bland and just to empty it could use a little bit of texture. So I went ahead and add a bit of texture using the lighter green shade. Then using a clean brush, I'm just going over and brushing it over so that texture is not that harsh. Remember that you have to make sure that your brush is not too wet, otherwise it's going to move. The colors are lot. I'm just going with a damp brush. If you don't want to do this, then you can not do this as well. If you're not confident about it. But I just kind of smushed out those harsh lines, especially at the bottom. And I'm just going to go ahead and add in a couple of more flowers wherever I feel that it could, it could use a few more flowers. They're never too many flowers, right? So wherever I feel like I could add something, I'm going to add and then work with different brush grass brushstrokes if needed. But other than that, we're just going to have a look at it if you satisfied with it, you know that you have reached the end of your painting. So we're going to let this dry. And the last step that I felt that we could do was add in some splatters. So I felt like, why not add in some splatters? So I'm going to go ahead and mix my green color with a little bit of wipes that I get this really, really light green shade. So you can see it's very light. It's a mix of sap, green, yellow, and white. It's a very, very light green mix. I'm using this color and my round brush. I am going to go ahead and just tap it against another brush, the pencil your finger, and just tap it everywhere. I have covered the sky and the mountain bar and the tree, but because I didn't want the brushstrokes to reach all over that area to make sure that you are covering up that space before you go ahead and make that splatters because these tend to be out of hand and they don't land exactly where you want it to be in there all over the place. So make sure that you are doing that. Along with the light green. I'm also tapping into some of these platters with yellow, just a very few with the yellow. Once you're done with that, you let this dry completely. And then we'll leave the tape off because we've reached the end of the painting. Alright, so now that my layer has completely dried, painting has completely dried up, you're gonna go ahead and paint the tip of and you can immediately see that with those crispy borders up painting, just box. It looks a lot more beautiful. You've got this gorgeous contrast between the Prussian blue, the mountains, and the grass, which is very bright. And so before we go ahead and have a closer look at it, let's sign up being things because we've worked so hard for this. We have especially spent about specifically spent about 25, 30 min if I'm not wrong on this. So take your time, sign it and then let's have a closer look at it. Alright, so here's a close-up of our painting. I love the texture on the hill. The splatters make it a lot more beautiful. I would say. It's a lot more whimsical. I love the mountains and how the technique is a little bit of texture on that mountain was all just done in one single layer. I hope you enjoyed painting the 10th class project, and I shall see you in the next one. Here's a sneak peek for it 37. Day 11 Part 1 : Mountain View: Hello everyone, Welcome to your 11th class project. Here's what we're painting today. The colors that I'll be using, our primary red, cadmium yellow, Prussian blue, sap green, black, and titanium white. These other shapes that I'm using, gather them and let's get started with the sketching process. So here you have on the left the reference image that I am getting inspired from. You can download from the resources and project section of the class. And we're going to start with sketching out the CDs of mountains that you're seeing, right? So you've got a bunch of different shades and as you can see, it progresses to the deeper shade as it comes to the bottom. So we're going to start off by sketching out the darker one that you're seeing up top. Then behind that, you can place the lighter ones. There are two ways of doing it. Either you can go ahead and sketch out the darker one and then put the lighter one, or just go as a CDs, whatever feels good to you in a moment. The only thing that we'll have to keep in mind is that you want to slightly change the shape of it and change the positioning of it. Because you don't want two of the mountains to have a similar kind of structure. Otherwise you're not going to be able to see the structure that when you want to alternate the positioning of it so that you have the peak in-between the depression of the two mountains that you're seeing. So the next one's equal b sort of in-between. I hope that makes sense. If it's not making sense, just let go of everything that I just said and focus on the reference image and try to sketch out the prominent mountains that you're seeing are the definite shapes that you're seeing. So you're just going to sketch the CVs out in that way. And in the front of it, you've got a bunch of different plants and a bunch of different colors of greens, really, especially at the bottom and up top you have like a branch of some tree peeking through into your painting. And then we have again a bunch of different green shades on it as well. So this is going to be your basic concept of the composition of the painting. Let's start with the painting process. Now for the sky, I'm going to go ahead and have three colors. That is my orange, yellow, and blue. These are going to be mixes of my red, yellow and white. That is going to give me my orange shade that I need. That is my pastel orange color that I need. Again, adding white, tone it down to make sure that you are working on the sheets like that. I'm pretty sure that you have really figured out everything right now. It's just the process of just painting along with me and enjoying the process. It's been ten days already, so I'm pretty sure you've got the basic concept of gouache by now and now it's just about painting and having fun. So I'm just going to go ahead and add in the orange at the base, right above the last mountain that I sketched out. And then we will be transitioning to a yellow mix. So that's going to be a mix between my yellow paint, my cadmium yellow and white to tone it down. And you can add in a little bit of orange so that it's not just to yellow and kind of goes with the color that you've already laid out. This should match and not look too odd. So you can add in a little bit of that orange makes that you've already made and that, if not, you can just lay the yellow down and just use a clean brush to blend the yellow and orange together. You don't really have to use any paint. You can just use your clean brush to blend it. Thanks, I'm going for the mix of the color or the blue color in the sky. It's a mix of my Prussian blue, white and a bit of black in it. Very similar to the shapes that we've used earlier over here, the quantity of white is a little bit less. That's why the color appears to be a lot darker, right? So we know that white determines the tonal value of the colors. If you want deeper colors, you add less white. If you want lighter colors, you add more white. Now over here, we've reached again that blending between the two complimentary colors. So we're going to use some white to blend it. When I'm just using white, sort of blend the white with the blue first before I go ahead and move it downwards. And then when I want to move to the white, I will clean my brush completely, make sure I don't have any blue on it. And then move though, white downwards. Sometimes. White might be very overpowering and you might feel like the yellow is completely gone. And that's when you can actually add a bit of yellow and then blend it in. You will have to go back and forth with the colors a couple of times to get that perfect blend. But keep the basic color concept in your mind. That is, you want to print orange, yellow, and blue together. And then obviously, as you are painting, you'll have to make the judgment to see which color is lacking and then add it accordingly. I'm just going to move the colors around a bit until I'm happy with the way the blend looks. Right now, I feel like I liked the way the blend looks. I'm just going to let this dry and then we'll start painting the series of mountains. Alright, so now that my paint has completely dried, my background has completely dried up. It's time for us to paint our first mountain that is really, really far away. So you're seeing almost like an orange brown color. I would say. That is a mix of my blue, yellow, red little bit of black and white. So I get this orangey, gray, grayish, muddy color. Basically, that is going to be the color that I have that is furthest away, right? So I'm just gonna go ahead and fill in the shape of the mountain that I see that it's really, really far away. And then we'll let it dry completely. And then we move on to the next one. Make sure that you're not lying. It's so flat because if it's flat it doesn't look that good. So you want to have a little bit of the lighter spaces in between. So the more uneven your blend is going to be or the process in which you laid down, the better it's going to look. Next, I'm mixing black, blue and my white paint together to get this gray color, bluish gray color. And again, using my flat brush, I will go ahead and apply it. For the next one, the next set of mountain that I have. I will apply it on that carefully, going around the edges of the previous one so that I don't cover it and tidy, but also covering up a little bit of white space. Next to bring in the color down. I'm just using water. So kind of like the watercolor method here, we're just using water to bring in the paint downwards. You can see how clearly there is a sharp line between where the water is and where the gouache paint, what you might have to add a little bit of quash paint to move the paint around and get rid of the line. You can also see how I'm not laying flat, so I don't want an even layer. I want it to be uneven so that it kind of gives that uneven structure of the mountain as well after it dries. Once you are done laying it down, we just let it dry. Once it's completely dry, eyes will move on to the next layer. Alright, so now that this layer has completely dried up, it's time for us to move on to the next farm. Again, mixing my blue paint, my black paint, and my white together. This time the quantity of white is going to be less so that you get a darker version of the color. And the basic idea is to get the color to appear darker as we come closer to the bottom of my painting. That's the basic concept. You want to kind of try and follow that. Again. I'm leaving it at the top, the one in the middle, that's the mountain that I'm covering right now. Playing it at the top and removing a little bit of paint from it so that it has an uneven structure, letting it dry. And then we move on to the next one. So it might take some time to dry it. You can use a hairdryer to speed up the drying process and go accordingly. Next, again, I'm mixing my black and blue paint. This time the paint is slightly darker than the previous layer, again, applying it at the top. So getting the shape of my mountain right. Then as you come down, you want to just use a bit of water to move the paint around. First. You don't even have to clean up brush, you just load your brush with a bit of water, then kind of move the paint around, Bring it down. If your paint has dried, then you can load up a little bit of the white paint as well to create that misty effect that we need. Or you can just use water and a bit of the darker color that you would apply. I used white here to kind of tone down the color at the bottom specifically and create that kind of misty effect that I need. Also one thing that you will see me do is have that uneven structure in it. And I'm just dabbing my brush to create a bit of texture in my mountains because as you're proceeding closer, we are going to be able to see a bit of more details and then I'm going to work a lot in the details. But I'm going to try and create a textured effect that I see on the mountains by just tapping in my brush with the darker color because we've laid out white. It will give out a little bit more details when you do that. And we'll see using tobacco colors to create these vertical, small, tiny vertical strokes on my mountains to show that there are trees on this mountain. And fan of just play around with the textures and the shape of it. So I'm just tapping in small lines on the bottom of the mountain as well to create a bit of details by just using my darker paint and try and do it in the same layer itself. And once it completely dries, we will move on to the next one. So you're just going to add in a little bit of extra and then let it dry completely. Alright, so now that this has dried, you can really see a bit of details and a triadic can see the misty effect. You can also see some trees in it. And that's how you're going to be focusing on the way in which our mountains goes. Next, we're going to make sap green, blue, and black together to get the next color that we need for our mountains. So sap, green, blue, and black will give you a color which looks something like this. Very close to black, but it's still not completely black. Then using this color, we are going to go ahead and create the mountains. I just added a little bit of white in it because it felt like it was too dark. So I added a bit of white to tone it down. Next, again, I'm going to go ahead and carefully make the shape of my mountain first. And then we will start adding the details to this. As this is a mountain that is a lot more closer to the observer. I'm making a bunch of vertical strokes to show the unevenness on the mountains and also the trees that might be on the top of the mountains. Then using water, I'm just going to go ahead and bring the color down. You can use water or you can use a bit of white paint to bring it down as well to kind of get that misty effect that I was talking about. So when you use white, you kind of tone down the color of that Ada. And then it's easier for you to add the darker colors on it. So both of the methods are correct. You can either use white or use sort of like the darker color itself to create that basic structure or the base of the mountains. Once you're done with that, you will go ahead and add in some random strokes, like random vertical strokes on the mountain itself to create that textured look that I was talking about. To show variations on your mountains so that it just doesn't look very flat. Because there's something that I've noticed myself as well when you initially paid, I will just leave my mountains flat. And especially when you're painting these series of mountains, it does not look very appealing, at least to me. Once I started adding that, I thought I should add a little bit of texture to it. And once I added texture, it or not to look a lot better. I mean, just visually a lot more appealing. Just a rather than just flat ones. I mean, that's just a personal preference as well. If you'd like to do it flat, please feel free to do that. I just felt like, I like playing around with textures and trying to really just learn the different kinds of effects that you can bring in a landscape painting. And that's what I like doing. So I will just experimenting, going to do about different things. I really like the way the texture looks here. I tapped in some darker colors as you can see, then you're really able to see the lighter colors through as well. So I think overall it looks really nice. Once you are done adding the details, you're going to let this completely dry. And then we'll move on to the next one. So we've done with this lesson here. In the next lesson we'll be painting the mountains and some details for the trees 38. Day 11 Part 2 : Mountain View: Alright, so now we're gonna go ahead and complete the bottom most mountain that you're seeing. Again, it's going to be a mix of your Sap Green, Prussian blue, and black color. Trying to make the shade a little bit darker than the one that we already have. But we don't have to work on a lot of details, especially at the bottom of this because it gets entirely covered with your trees that we have to add. Also another thing that you have to keep in mind that you shouldn't let this shade bit too dark, that the greens don't show up that well on it, right? So you want to make sure that I'm in the shade that you're making for the mountain is just not too dark or not too close to black, but it should be a darker color. Of course. I'm going to carefully go ahead and outline the shape of my mountain first. And then once you do that, you can bring in water to kind of bring in the color down and kind of just fill in the entire space using that sheet. And sometimes the water. If you just take water and apply it, it looks a little bit odd. So that's when you can do it up a little bit of paint as well and apply it and just move the sheets. Once you fill in the entire structure of this remaining space that you have, you can go ahead and outline the shape of the mountains properly and also make those vertical strokes to show the trees in that area like we've done for the previous one. You're going to do that exact same thing here as well. You're also going to tap in these random strokes to bring in a little bit of texture on this. Again, like I said, it doesn't matter if you work a lot on the details here or not. Because this section slot sort of gets covered with a bunch of different trees and details that are going to come, especially specifically at the bottom. So you don't have to work a lot on the details here. So I'm just going to tap in some lines and vertical strokes in some circles to make this section up here a little bit fuller. And then on top make those vertical strokes so that it appears to be that there are a bunch of trees because the top part of the mountain is going to be visible. The bottom part, not so much. So you're just going to tap in some vertical strokes at the top to bring in that structure of the mountain. In the show there are a bunch of different trees and things like that. And once you're done with this, you are going to let it completely dry. So this was pretty much it for the series of mountains that you'll have. Once you're done with this, we'll move on to the structure of the trees that you're seeing. Alright, so now that my layer has completely dried, we have got the series of mountain in. Now the first set of colors that I'm making is a mix of my sap green and my black paint together. A lot more black than Sap Green, I would say, because we want to just create the base layer for the, for the trees first. I'm just going to go ahead and use my round brush here to create the structure. So just imagine whatever you are seeing on your reference image. You're trying to create the basic structure for that. On that you can lay a bunch of different strokes to get in the lighter green. But we want to work on the dark, darkest most part of the structure here. So I'm starting off with the left side. You can see I'm creating a bunch of different strokes here and also adding a little bit of a variation in the way it looks, right? So there's a bunch of different height variations, shape variations. From the left, it goes all the way down. And then again it transitions to an upward direction towards the right. And I'm almost reaching like the half of the paper. So this is where I want the bottom part of the tree to be. The area of the bottom part of the trees and structure to be. Once you're done with that, I'm just going to move things aside. And then I'm going to create the branches that I'm seeing. You can look at the reference image here to get a better idea of where you want the branch to go. It does help out a lot. The basic idea is to create the branches first, right? So that you know what the structure is. Once you're done with that, I'm just creating a bunch of different dots and bunch of different shades first or shapes, shades shapes first to create the base of my tree. So on this I will add in a bunch of different greens. So this will act as like the darkest most layer, right? You've done this in the past. We have laid out a darker color and then on top of that, we've added a lot of green. This is exactly what we're doing here and as well, starting off with the darkest most color. And then we will build on top with a bunch of different layers. I'm just using darkest most color here to get the structure of my tree, right. So I'm just going to go ahead and tap in a lot of different dots of different sizes, very random strokes. You can also drag your brush around to kind of add in larger strokes using your round brush The basic idea, like I said, is to create the base. And then you can obviously build on top of that so you can look at the reference image or just follow me along. You can watch me do this, then pause, do that much. And it's a lot easier to do it like that as well. Along with the leaves that you're seeing on the tree, you want to work on the leaves that you are seeing from the top, peeking through, from the corner, speaking through as well. And then obviously we can add in a bunch of different colors to that. Also over here, if you notice, my shades are very, very on my brushstrokes are very random. They're not very fine detail. That is because I'm working on just getting the positioning of my leaves where I want it to be right. And then once you're done with that, you're going to let this dry. And then we will move on to adding a little bit more details. So a little bit more structures around the shapes that we have. So you can change the brush if you'd like. You can go for a more or less a pointed brush, whatever works for you. I am going for a slightly less appointed brush. And I'm going to use that brush to add in a little bit more details with it. The shape, the color that I'm using is again a mix of sap green and black. But over here there's a little, little more sap green than before. Then using my new brush, which is a nice pointed brush that I like using for my leaves. I'm going to go ahead and use that and create a bit more structure with that. So I'm just going to go ahead and add in more details around the edge. And at the top, a little bit more leaf structure rather than just what it looks like right now. It's just like a base. So I'm just going to add in some more details. I'm going to do all over. Keeping in mind that I'm bringing these strokes all the way to the bottom as well. Because this is going to be a second layer that you're going to add, right? So you had the black or the darkest one. This is a slightly more towards the greener side. He does have black, but again, it is slightly more, I would say towards the cleaners side. You're going to go ahead and add in the strokes. All over is the same kind of strokes that you were making earlier as well, but this time a little bit more fine, a little bit more detail. And you want to just get the positioning that act. If black was like You're 100%, I would say would be about 80 actually, because you still want to fill up the entire space, but you still have a little bit of black peeking through, right? So we want the scholar is not showing up so much on the camera I would save. But in reality, you can really distinguish between the two colors. You can really tell there is a layer on top of the other one that I've just added. So you can see how I'm making these brushstrokes very carefully. It is random brushstrokes, but I'm still fine to place them correctly, especially at the top of my structure. I'm making it a little bit more defined so that it does look like a leaf structures of branch structures and things like that. Once I'm done with the bottom-most area, I'll move on to painting the top part. What I'm just trying to show you a difference between the colors so that it doesn't look like I'm just laying a dark color over a dark color again and there's nothing happening. There is a difference. I'm pretty sure like the camera is not catching it back well. Now, moving on to the top again, you are going to go ahead and create the C side of brushstrokes. And you can easily see how I am working a lot more on structure this time. So that the tree looks a lot more follow it does look like leaves and you can see like more structures of the leaves. So that's the basic idea here again, to make it follow, make it a little bit more defined, and get in a little bit more details for the leaves. Now, if you're wondering what sort of brush strokes I'm making, it's very similar to the one I showed you in the techniques lesson. If you haven't watched that, if you want to brush over your memory, please do. Go ahead and watch what that structure is, what the brushstroke is. I think it's in the brushstrokes lesson. Do watch that, and then you can come back to this. So just small tabs of different sizes and different direction so that they look a lot more natural. And you'll be able to achieve this effect. One thing that I would like to tell you whenever you're working on structures like this, I would say let your brush be very loose. A lot of pressure on your brush because you are constantly moving your brush. When you're working on a brush strokes like this, you want to make sure that you are not applying a lot of pressure on it and you're just letting it do its job, which is sort of guided. And you'll be able to get these type of restaurants. The more you try to control the exact placement of these brushstrokes, the more, I would say weird they turn out looking. At least. That's what I feel like in my opinion, the monitor controller, restaurants the movie or that are not looking sizes. Let it lets my hand be very loose and free. I do have idea about what I'm trying to achieve. And it's okay if it looks a little bit different from what your idea is because you want it to have that different sort of look to it. It's, it's a, it's a tree. It will look different. It will look weird. It's not going to follow an exact structure. Other than of course have stems and branches and things like that. But the leaves are all over the place. They just flow in all directions. So you want to keep that structure in mind and then just create your leaves. I'm just going to let B, you're going to create leads all over and then I'll get back to you. Alright, so now I've completed the entire structure here. You can see how it does look a little bit more defined than it did in the previous layer. So you're going to let this dry. And then in the next lesson we will be adding more details. Suggests a different sheets if clean store it 39. Day 11 Part 3 : Mountain View: Alright, so we're not done with our base layer, these two layers for the trees, It's time for us to start adding greens to this, right? And we wanted it to mine the way in which the light is falling on my painting. So I want to show that the light comes from the left, left corner Irish side, I would say I'm using a mix of sap, green and black this time a little bit more green. So you can clearly see in the mix itself, it does show up to be a little bit more green than usual. This is the shape that I'm using. If you want, you can add in a little bit of white to it, but I would suggest not doing it yet because it just completely makes it very light as compared to the transition that you want, which should be nice and slow. Instead of light, you could add a little bit more of the sap green. Right now you're going to sort of understand the placements. So obviously you've got the light falling from the left corner, like I was saying. So the top part of your structure is going to receive light. But instead of just leaving it at the top part, I am picking sections. You can clearly see how it is. But there is some little sections that I'm creating at the bottom as well, just to make my structure look a lot fuller and not just flat. So you're not just going to apply it at the top. You'll have some at the bottom as well. Now, the concept behind why it is at the bottom as well is because your tree is not flat, the structure is not flat. It is parade across an area. Correct. So when you have structures with which is like a tree, it's more like volume minutes, I would say, spread across a particular area. It's not that only the top left part of it is going to receive the light. The light is going to fall all over your tree, especially when it's coming from the top. It's going to fall all over the tree and different, different sections so that the sections of the trees that are a lot more fuller and reaching towards the top will receive that kind of light. And the ones at the bottom obviously are going to be darker. So you going to make it in a way that you're picking out particular sections. We can pause here to kind of peak in what I was seeing and kind of related to what is happening on the paper as well to get a better understanding. And I'm pretty sure once you get fat it makes a lot more sense. So what I'm trying to say here. So now that I'm done with creating the lighter structures for the bottom part, I'm going to go ahead and move on to the tree. Now for the tree, again, I am going to pick out different sections. So let's say the leftmost part is going to receive the light. I'm going to add it. Then the bottom leaves as well. And you're not only going to add the light on the branches and the leaves that are hanging, you will pick out sections in the middle as well. Again, like I said, it's like a 3D structure, right? So you have leaves all around your branch. So it's not only at the top and the bottom part, it's all around and it's even in the middle. So you want to pick out sections like that. You can watch me how I am making it here before you go ahead and I'll flew around, flow along and do it yourself. Because sometimes it does get a little bit tricky. More than the explanation really watching helps as to how the structure is being picked on how the section is being. You obviously don't have to pick that exact location as to where I am adding it. It can change a little bit. It can be a little bit different. But you have to keep in mind the concept that I was talking about. You want to keep that light falling or the lighter greens come in. Well, in your painting. Remember you want to pick out different sections. And also these sections should not be really far away from one another. Keep them close so that the dark black space that you have is not too much. You want to be able to see that, but not by a lot. I would say there should be a good sort of space between them, not too much and not too little as well. So I've gone ahead and added the structure. So the basic idea is to fill in the entire section with this shade. And then we'll go ahead with a lighter color and then a lighter color. So I will say this is our third layer, correct? This is the third shade of green that we are going to use. On top of that we'll use to more, I would say two more different shades of green and then we'll be good to go and then the structure will really come along very well. Now I'm gonna go ahead and add the same green and the top section as well. And you can really see once it dries, the green shows up a lot more than it does when it's wet. I mean, that's how I see it. Maybe it might look different to you. But once you're done with adding the screen, you're going to let this dry and then we'll move on to the next layer. Alright, so now that my section has completely dried up, it's time for us to create the next mix, which is again, a mix of my sap, green My black paint, I wouldn't add a lot of black paint. So you're just going to use the same base that you used earlier to that I'm going to add in a little bit of yellow to get my green to get them instead of white directly. And I am going to show you the mix it creates. I added a little bit of black because it was too bright as a transition between the shade. So I added a bit of black, but again, you don't have to make it too dark. It has to be lighter than the previous layer. Now using this color, I'm going to go ahead and start adding the strokes. I added a bit of white in it as well, just to make it slightly opaque, but it was very, very little bit of white. Now, on top of the green that you've added, that you've already added that green. On top of that, you will create a bunch more of these strokes, these random strokes, very, very few of these random strokes, I would say, because you want to be able to see the past three layers that you've added. The number of strokes that you're making is going to reduce. I know it makes a lot more sense to you now, if you followed me from the beginning of this challenge, I'm pretty sure you know this a lot better now as to how we add these brushstrokes, right? You want to reduce number of brushstrokes that you are adding into your painting or the structure that you're making. As you proceed towards the lighter color, the highlights are going to be very, very little. Since this is our second last layer, which is our fourth layer, I'm just going to add a few of these brush strokes and you can really see the greens coming around, right? So go ahead and add this on top of all the greens that you've had. Obviously, it shouldn't exactly coincide with your previous brushstrokes. Don't make it very similar to that but around it. So you know the section that you've picked and you just want to add certain sum of these random strokes around that area that you've already laid out. So go ahead and do that and then I'll catch you when we are entering the next layer, because the process here is very repetitive. This is really not much to talk about, is just reparative process again and again. So go ahead and fill up this entire section and then we'll move on to the next layer. Alright, so another way down with this, we're going to let this completely dry and we will add in the lightest green in the next one. Now this is done. Let's go ahead and create our next mix, which is a mix of my sap green, yellow, little bit of black and white. You're going to add in a little bit of yellow and white into the same mix that you have really been added on that bit of green if it's non green enough or you want to make more of the paint. So this is going to be our highlight color. And again, you know your sections and I will just add a few strokes. You can see how I'm adding very, very few brushstrokes using this color just to intensify the color of that Ada and show you the different sections that we have. Once you add in the highlights, you can really tell, okay, this is one chunk of the tree. This is the trunk of the tree. So that kind of adds in a little bit of difference in these sections that you've created. And again, very few brushstrokes. And it will appear a little bit lighter than it does when once it dries because this is a lighter color. I know it's a bit confusing because gouache dries lighter when it's a darker color and dries darker when it's a lighter color. It does a little bit complicated, but you'll get used to it. I know. So make sure that you are adding little brushstrokes, not making the color to light because it will dry a little bit darker. It's a key I really like this color. The transition is good and it just goes with the flow of the other shades rather than being just too bright. And it's not in line with the previous color. So it makes it a lot more sense for it to be this color than a color that's a little bit lighter than that. So now you know where this section is going to be. So you're just going to go ahead and add it all over. Very, very few brushstrokes. I'm just repeating myself here, but very, very few brush strokes. We'll make a section. Bob out a little bit more and look a lot better. I had tried this exact reference image, I would say last year. And I saw huge difference in the way that this painting turned out as compared to last year. So if you have been following me on Instagram, I'm pretty sure like if you follow me for a while, you know exactly which painting I'm talking about exactly. I think one year ago in June or July, I tried this exact reference image. And it turned out a lot different because the way in which I mixed my colors were different. And I personally like this one more obviously because it's an, it's an improvised version of that. The colors are different, the brushstrokes are different. And overall, I really like the look of this more than the previous time I tried it last year. Another thing, another thing to take away from this is that it's okay to try a reference image over interval of time. You will see how your thinking process changes and the way in which you would upload something completely changes from what you would do a couple of months ago. So it's very important to keep practicing and keep growing because that is going to make a huge difference in your art journey. Anyway, we're done with the final strokes, and this is the final part of our painting. We are done with this. If you'd like, you can add in a lighter color, but I feel like it's done here, so I'm not gonna do anything else. Once it dries, we're going to peel the tape off. The tape off, like I mentioned earlier, really makes your painting pop up a lot more. You can clearly see how it looks a lot more defined because of the white border, everything looks a lot better. I really like this view. It's almost like standing on the top of mountain after a track. And looking at the view, standing next to a tree, I love the colors of the tree. It's so warm, so beautiful, so lush. We're also seeing a beautiful trail of mountains from this section. I hope you enjoyed painting this. In the next lesson, we'll be painting a beautiful sky. 40. Day 12 Part 1 : Under the Tree: Hello guys, welcome to your 12th class project. Here's what we're doing today. Let us discuss all the colors that I'm using. Urine to have ultramarine blue, you can use Prussian blue as well. I have sap green. Next, I have cadmium yellow. Next on my list is black, which is my lamp black color or jet black color. And lastly, I have white. You can use permanent white or titanium white depending on what you have. We're very simple colors, you're very few colors. Let's get started with the sketching process. Alright, so This painting is very simple. There's not a lot to do. We can even in fact, who directly go and start with the painting process itself. But I'm gonna give you a little idea of what goes where. So we've got a beautiful gradient sky in the background. And we've also got a bunch of different trees and leaves and branches at the bottom. So it's just a cluster of the top portion of all the trees together basically. And then it will be working with different shades of green there. Then we've got a bunch of clouds right above that. Very few clouds. Not a lot to worry about and do here, the remaining part of the sky is pretty clear. Then from the sides we've got a bunch of branches and a bunch of leaves around it. We don't really have to sketch all the details right now because it does get covered, right? We know that doesn't make sense to sketch everything out right now. You can do it later or you can do it free hand as well. But this is pretty much it basically for the composition. So we're going to dive right into the painting process. I'm going to use my flat brush. And the first thing that we are going to do is create a background wash. Now, I would suggest that you use a bigger size brush because that makes the blending process a lot more simpler, especially when you are working with gradients, guys. The color that I'm using is my ultramarine blue with a mix white so that it's not that blue as is ultramarine, directly. Use that color and this will be the darkest color that I applied. I will apply that at the top. And as we've transitioned downwards, I will be using a lighter shade. For the lighter shades, I will just be adding a little bit more white into my paint. Now if you look very carefully at the reference image, which you can download from the project and resources section, you can see how majority part of the sky is still like a darker blue. And then only towards the area where you have the plants or the trees, the color gets lighter, right? So you just have to start working on the light, the color only somewhat at the bottom. I'm going to go ahead and make the major part of my sky using the darker blue. And as I transition downwards, I will make it lighter. Now as you can see, I'm using a smaller size of my flat brush. And it is taking a lot more time than needed. Because if you use a larger brush, it will make the process a lot more simpler. Especially when you're making a gradient sky, which just uses the same colors. Next, I'm just going to lighten up my blue. So let's just add a little bit of more white in it. And that makes the color lighter as we know with gouache. And using this color, I'm going to bring it downwards. And as we're coming down, you can clearly see shade is lighter and I'm also making sure that I'm blending it with the darker color as we go. And it makes the process a lot more easier that you blend the sky colors when they're still wet, rather than letting it dry and then trying to blend them together. Now coming towards the bottom most area, I'm just using a little bit of a white paint. You can use the white paint on the same brush and just use it directly on the paper. Or you can make a lighter blue mix or just add more white into the same mix that you are using. And then make the blend or a blend of the two colors and then use that on the paper. Would the ways are correct, you can do the blending directly on the paper, also. Create the mixes on the palette and then put it, both are correct. Both will give you the same results. Now that we're done laying out all our colors perfectly one below the other. We know we have our gradient here. We're just going to focus more on the blending process. The idea is to have a beautiful transition between the two colors. So that we can easily see that how we go from the dark color to the lighter color. Over here, like I said, I'm using a smaller brush. So it's going to take a little bit more time than needed to get the blending process or the blend to look very, very seamless and beautiful. Whenever you are in a situation like this, I will suggest that you use a bigger size brush. I'm just going to clean my brush now that we have all the colors and I'm just going to let this be here. I'm going to clean my brush and then change my brush to a larger size. Let this dry and you can clearly see how the blend is a little bit not so evenly spread out once it's dry. So whenever you are in a situation like that where you feel like your brushes, your blend is not very even. Then you can apply a second layer to your background. So especially for a blend like this, we know the colors, you just have to apply a second layer over it. And it will immediately become a lot more opaque and evenly blended out. Over here, I'm using my size 14 or rather size 18 brush. So it's a lot more bigger. It makes the blending process so much more easier than a smaller size brush because we basically have to cover the entire paper with this shade. So it makes more sense to use a larger size brush. But if you don't have a larger size brush, It's okay. You can totally use the flat brush that you have. But if you do have a larger size brush, I would suggest that you will use it. When I'm done laying out the slightly darker blue color, I'm going to make a lighter mix and then apply that and get basically all the three different shades of blue to blend into one another so that we have a nice even blend. You can clearly see over here how the second code has made the blend look so much more, even, so much more seamless. You can clearly see how the light blue transitions into the darker blue. Now, this is it for the first lesson. In the next lesson we'll be painting the clouds and the plants together 41. Day 12 Part 2 : Under the Tree: Alright, so now that our background layer has completely dried, it's time for us to paint the clouds. Now for the clouds, I'm going to be using my round brush and my white paint, a thick consistency of the white paint for that textured fluffy cloud effect. And I wouldn't say it's an exactly fluffy cloud. But with the brushstrokes, you do get a brushstroke that's very similar to this or the effect very similar to that. Using my horizontal brushstrokes like we've done in the past. You will, you'll go ahead and add in your clouds for the shape of the clouds, feel free to explore different shapes. I would say. You don't have to stick to that of the reference image itself. Obviously, you can understand the placements of the clouds from the reference image, but you can totally change the structure of the clouds if you'd like, if you want to get a different structure of the clouds, feel free to do that. It's always fun to change things and create our own versions as we go. I'm just going to go ahead and focus on creating a bunch of clouds on almost like the center and the right part of my painting because that's the area that is more visible with the clouds. And on the top most, It's like half the paper gets covered with those plants and branches and leaves. I will focus mostly on creating them at the center and the right side. And also you can see how I'm creating horizontal strokes, but at the same time, making a cluster of them are very, are making those brushstrokes so close to one another. They appear to be these fluffy clouds, along with the main shapes of the clouds, I also have some smaller clouds floating around so that the overall structure looks really good. One more thing that you can do here to make the clouds a little bit more opaque is let this dry and then add a second coat over it as highlights so that they look a lot more fluffier. This is completely up to you. You can paint the clouds however you like. I really like the way this looks. I'm just going to let this dry. And then we will focus on the plants. Alright? Now that my clouds have dried up, it's time for me to add in the highlights. So like I was mentioning, you can add in a little bit of highlights to create a little bit more opaqueness into your Cloud. Again, personal preference. If you don't wanna do it, you don't have to do it. Alright. I didn't like the way the clouds look here, so I'm just going to let that be. And I'm going to go ahead and start painting the background for the trees that are at the bottom. For that, I'm going to make my sap green and black color to get a really, really deep mix of greens. It's a really, really deep shade of green, almost very close to black. And carefully I'm going to make a bunch of strokes of different sizes and directions, basically trying to show the top part of my tree. Now over here, since it's a darker color, we don't really have to focus on trying to create sections of anything. The layer is just going to be even and dark of its own. And then on top of that, we will add in layers to bring out the effect of different greens and sections. So you can clearly see how the strokes I'm making are all over the place. They're in all different directions. And I'm just covering the white part that we left behind. You can also look at the reference image to understand the placements and the sizes of it. I am pretty much free balling it. You're destroying it in my own way. But again, being respected the composition of my painting. I've gone ahead and added the strokes. You can see how they're not very well-defined. I would say they are just, you get to know the structure. You can get to know that these are not hills and probably a bunch of different trees. So now I'm going to move onto a spoiled. Now what this brush does, just like in our autumn class project that we did, it creates a bunch of textures. I want a little bit of uneven texture on the top of my trees so that it looks a little bit more defined. You have thicker strokes, but at the same time you have smaller ones. I've gone ahead and just added a few little textures on top. Once it's completely dried, you can see how it turns into a slightly darker green mix, I would say. Once you're done with that, you switch to adding highlights in it, are working on highlights. Now I'm going to create a mix of green and my black color this time it's a little bit lighter obviously than the previous layer. I will pick out different sections and create these brushstrokes. Now I know it is not clearly visible on the camera because it doesn't pick up the darker colors as well as I'd like it to. But very similar to all the other class projects we've done in the past. It's very similar to that. You're just applying the same concept. But again, just to composition changes, the shape of the element changes and that's it. Once you are done with the darker green, I'm creating a mix with a little bit of yellow and white in it so that it gets lighter. You can see how there is a transition in the sheet. And then again, using my spoilt brush, creating a bunch of textures so you can have different effects of the leaves. And it's like, you know how the leaves are just all over the place. And squash brush really works well for that. If you don't have a spoiled brush, brush is basically just a brush that's lost its shape. It's not going to go back to its original shape. So we can use that brush to create wonderful textures and landscape paintings, especially when you're painting plants and foliage and things like that. I absolutely love it for that exact reason. So you can see overbooked with three different shades of green. I'm just going to add in a little bit of yellow and some white in it for it to get into the lightest color so that I can add an Olympic more highlights to this. Before I go ahead and move on to the plants on the top, this is the sheet that I have. And using my small brush, again, just a few strokes, few controlled strokes to add in highlights. Again, we know the rule, right? The background is 100%. The one you add on top of it is like 75, 80, and then 50.30, depending on how we go. You are supposed to add in the highlights, depending on that. This time it's gonna be a lot lighter. Also, keep in mind that it might appear darker, like the lighter color will appear darker when you put it on the paper. But once it dries, it will appear lighter. This is something that you have to keep in mind when you're mixing your colors. Now I really like the way the plant is looking. I really like the way it looks. I have tried to capture the same sort of structure that I was seeing in the reference image. And I'm really happy with the way it has actually turned out. And you just use a small brush for this texture. I really like this. Now, once this dries, you're going to move on to the plants on the top in the next lesson. 42. Day 12 Part 3 : Under the Tree: Alright, so now moving on to the branches and leaves that is in the picture from the top right corner. So it's almost like a standing under the tree and looking at this view before we go ahead and start painting that, I will suggest you sketch out the branches at least to understand the placements of it. You don't have to do everything exactly. Our sketch out everything properly. You just have to kind of understand the placements of the major branches that you have. So for that, you can look at the reference image and understand this tough job that you have. This will really help you to just get the basic idea of the structure. And it will make things a lot easier when you start painting because you'll not have to go back and look at it. Then once you are done with the drawing part of it, you can directly move onto the painting bit right over here. I'm just making a bunch of branches to understand the placements of the main structure. And once I am done with the placement of the main structure, really, I don't really go ahead and think of lot because after that is just about enjoying the process. Because it's very, the potato. Just have to play around with different shapes and sizes of your branches and leaves. And it can be very therapeutic. I find it very therapeutic. I'm not sure how you find it. But a lot of people that I know do find it a lot more therapeutic to just go ahead and pin things based on how you want it to be and you don't have to really follow any structure. Right now. I'm going to create a dark mix, which is a mix of my sap green, and my black paint. I felt I wanted to mix it in the same bottle, but I realized that it has white. It was not giving me the exact color that I wanted, so I put it on the side and made a new mix. Over here is just to make some sap green and black together. And I'm using my round brush. I will suggest you use a brush that is a little bit more pointed and shot instead of pointed end long, or rather any different shape of brush, it really doesn't matter. You can play around with the brush strokes. You can make your brushstrokes look a particular way. It doesn't have to be exactly like the reference image. Over here. I'm using my SCADA brush, which comes to a really nice, fine tip, but at the same time it shot. I think it works really well for all my leaves and branches whenever you want to work in a large quantity of those special, specifically, I use this brush. I really like the way it creates the brushstrokes. I'm just going to use a combination of these brushes together. So the round one is going to be for all the branches and the SCADA one is going to be for all the leaves. So I'm just using a combination of these two brushstrokes together. Now over here, honestly, I don't have a lot to say for this process, because you are just flowing with the branches, flowing with the repetition of brushstrokes that you have. There is no right and wrong. Just to give you a little brief about what you should be thinking at this point is, imagine standing under a tree and creating these bunch of brushstrokes. I'm just going to let you enjoy the process. I'm going to keep quiet. It's very interpretative. Like I said, you don't have to follow the same structure as I am as well. I wanted to be a lot more easier if I just sped up the process and raised or skipped towards the end because it's an appetitive process. But I wanted to just let you enjoy this with a bit of music and just paint with near real time on its leaves so that you don't feel like you have to pause and then really follow me, reach to that point and then do all of that. I mean, I hope that makes sense. So I'm just going to leave you guys here. I will catch you in a bit. Enjoy the process of creating these branches and leaves. Play around with the different sizes and detection. So just imagine yourself enjoying this view, standing right under the shade of a beautiful tree. Okay? Alright, so we've almost reached the end of the branches and leaves that we were painting. I hope you actually enjoy this one. Like I mentioned earlier before, going quiet, was that it's just a therapeutic process. It's very repetitive. You can do so much in this step. You really don't have to follow the exact steps. There's just absolutely so much that you can do. You don't have to follow the reference image, you don't have to follow me. Also, you can just change various things and make them however you like. That's why I wanted to give you that freedom to just enjoy this process without having to follow anything. And once you're done with the basic structure like I did here, take a step back and look at or wherever you'd like to add smaller leaves or branches and details. Go ahead and do that. Feel free to add in some extra branches if you feel like, especially at the end, it does improve the overall shape of it because you want the ends to be a lot more thinner and smaller. Once you're happy with the way that looks, you're going to let it completely dry. Alright, so now that the painting has completely dried up, it's time for us to feel our tape and just reveal beautiful clean edges. So here I am feeling my tape. We peel away from the paper so that we have the clean edges and it doesn't tear our paper. And once we're done with this, we're going to have a closer look at it. But before we do that, sign in your paintings, write down your wonderful names at the bottom. Make it uniquely yours because it works so hard for it. I hope you enjoyed painting this very simple composition with me for the 12th class project. Let's have a closer look. I absolutely love the way this one looks. Overall. Love the composition, loved the colors, very simple and small color palette. Not a lot is happening, but at the same time, it's a good practice to understand your blend textures and get a good hands on with the branches and leaves. This is it for the 12th one. Here's a sneak peek of what's coming on, deepening 43. Day 13 Part 1 : Countryside Sunset: Hello and welcome to your 13th class project. Here's what we're painting today. Let us talk about the colors. So I have cadmium yellow. Next I have primary read. Next, I have a jet black. Next I have sap green. The green that I'm going to be using. Next I have a bit of Prussian blue. And lastly my white paint, which is my permanent white. You can use titanium white as well. So these are all the colors that we'll be using and mixing our own wonderful shades of the project. Alright, so let us start ahead with the sketching process. I've taped down my paper and taken all the colors out on my palette. We're going to start off with the sketch of whatever we're seeing in our reference image. You can clearly see we've got a horizon line where the green is that prominent green that you're staying. On top of that, we've got a bunch of different trees and foliage on top of that. Behind that, we've got a bit of a peek through of a bunch of clouds and undo bit of a hilly region. I would say that I would, I could add. And then of course we have this guy, so we want to get in all the elements in place and we're seeing above the horizon line. I first sketched out my foliage on the trees. And then behind that, I've sketched out the hill that I'm seeing, right at which Behind which is my son got the sun right at the bottom, almost setting into the hill, behind the hill. That's the kind of effect we have. And then we have the blend for the sky and the clouds that we see. So we'll do all of that when we're painting. At the bottom, you can clearly see this is almost like a road, I would say, or like a like an uneven road, not the road road. And you've got trees and a bunch of different tall grass, not really tall ones, but like medium tall grass, I would say at the side that we can see clearly. Then of course we've got that uneven road at the very, very bottom. So you're not seeing a lot of it, just a little bit of it. And then we've got a beautiful tree on the leftmost side. I really don't know what type of shade that is. Very bad with names. But I really like the way this tree looks at, hoping that we can get a similar kind of effect in our painting. Overall, this is the composition. Let us quickly dive into the painting process. So as you can see in the reference image, you can download from the project and resources section. I've made it live. You can get that and have it with you. I'm using my flat brush. And as you can see in the reference image, we've got beautiful shades of orange, yellow, and almost like a light blue at the top. We're going to start off with the orange mix. For that, I'm going to use my red color, which is my primary that color, along with a little bit of yellow and white. So mixing the shade is going to give me an orange. You can use orange directly as well. Completely personal preference here. I'm going to use this orange shape that I've paid and apply it right at the bottom. And I don't have to go all the way to the horizon line, but make sure that you're getting an older ages that are above your sketch in, alright, once I've added the orange almost at the sides and leaving a little bit of that space in the middle, that whitespace. That's where I'll be adding my yellow. So I'm using a mix of a little bit of red, yellow, and white and adding it carefully in the middle and then blending it with the orange. So as you can see, I basically want the area where the sun is to be a little bit glowy. And to get that kind of effect, I've left that yellow space, have that orange on the sides. And you can go ahead and just add a little bit more orange to the sides and just get in the blend properly before you go ahead and move further into your painting. I've just added a little bit more of the orange, made that orange a little bit more prominent because I felt like it was looking a lot lighter ones the yellow came in. I really like the way this orange looks right now are the blend looks right now. I'm going to clean my brush and move ahead and make a mix of chest, yellow and white together to just tone down the vibrancy of the color. You can clearly see the difference between the yellow that I've just made and the yellow that I added earlier, which was a little bit more orange. I'm going to go ahead and add that yellow on top of the orange and yellow or previous yellow, medium yellow blend that I had. And then I'm just going to mix it into one another and just create that blend. Now I'm just going to go ahead and focus this almost at the half of my sky region, because at top of that, I want my blue, which I'm going to mix my Prussian blue with white. And you can also add in a little bit of black in it just so that it has that nice grayish tone to it. And it's not just blows. I really like the way that color looks, which is a mix of Prussian blue, white, and a bit of black. I've also added a hint of yellow in my painting, but it's just a tiny, tiny hint of yellow. And it's a mix of yellow and white. So I'm just going ahead and play with different shapes to achieve that sort of bluish greenish color that I want. So I've gone ahead and created this mix for my sky. So it's a mix of Prussian blue, little bit of, little bit of Prussian blue, white, a little bit of black, and a very, very tiny amount of yellow. So I will just wanted the blue to match with the shapes that I'm using at the bottom, which was of course a mix of yellow and orange, yellow and red, to create that orange color. So I just wanted to incorporate those shades into my blue. And honestly the yellow, blue, black, and white mix, we've been using it a lot, so I just wanted to do something different. Now over here, even though you have a little bit of yellow in your blue, you still want to ensure that you are blending these two colors with white because they will end up making a slightly muddy makes it wouldn't be that prominent. But still you will see a slight muddy effect if you were to blend them directly. I'm going to go ahead and use my white paint to blend it together. Now over here, if you feel like your yellow is not bulging, it's too stiff and you're not able to blend, then you can just load up a little bit of yellow, applied it, apply it in the yellow region that you added earlier and then blend it in. So that's how you are able to blend the colors together. Otherwise, another trick to blend would be to just use a wet brush instead of any paint. Just use a slightly damp brush. The damp brush is just going to reactivate the paint that is there on the paper. And you will easily be able to blend them together. So whenever you feel like your paints have tried, it's not like it's done. You can reactivate the paint and blend it and move the paint around so you can see how I am moving the paint a little bit. And if I feel like too much of the paint has purged, and it could use a little bit of orange or yellow depending on the color that I need. You can go ahead and add it in blended. I really liked the way the brand looks. I'm just going to let this dry. And in the next lesson we will be adding all the clouds and extra details on the top 44. Day 13 Part 2 : Countryside Sunset: Alright, so now that my background layer is completely dried up, it's time for us to start painting all the details for the Cloud, the sun and everything. So first I'm going to go ahead and add the sun, which is a mix of white and it just tiny, tiny amount of yellow. So we'll start off by creating that blue around the sun. Then go ahead and create the son of its own. So I go ahead and add a circle, a very, very rough effect of the circle. And then I'm going to clean my brush, dry off the extra water. And then using a damp brush, I will just reactivate the sides and merge it out. Once you go in that circular motion, very similar to the circle that you've made. You just read out the rough edges or the harsh edges that you see in kinda blends in with the background create and once it dries, it creates that glow effect around the sun. So you can see it's not just a circle resting on top, but it stays a glow around it. Now while that is drying. And before we go ahead and add a prominent circle on top of that, it's time for us to add the clouds. For the clouds, I'm going to mix my blue. And that is my Prussian blue with primary red, a little bit of black and white. I know a bunch of colors. These are a lot of colors to mix. But basically you're going to create a purple, grayish clouds because he's a sunset clouds. We want to go for clouds that are like that, are of that shade. Rather, using the horizontal strokes, you will go ahead and create these clouds around the sun. Be a little bit careful because we will be adding lighter colors for the clouds. You don't want to go directly over the sun because that's where I want my more deeper orange clouds to be. But obviously around the sun, you want the clouds to be of the scholar and try and not moles above the orange yellow region that you have. Because on top of that, the clouds will appear to be a little bit lighter. As I go. You will see how the difference comes in. Now again, you can see how the movement of my brushes, it's horizontal. So that's how I'm creating these kind of like smooshed clouds. These are not fluffy clouds. And especially they are really far away. They're at the data that is near the horizon. So you're not seeing very, very fluffy clouds there, especially in the picture that you have as well. You can look at the reference image and understand the composition for yourself so that when you are looking at a different reference image, you are able to analyze it and break it down and paint when you are doing it yourself as well. Now that I'm done with the clouds are around the sun, it's time for us to start adding the highlights. For the highlight. So what I'll do is I'll make sure that I'm cleaning my brush first. And then I'm going to mix my red and my yellow and white together to create like this orange, like a deeper orange color that I'll use for the clouds. This one is a little bit lighter because I want to use the shade for the highlights before I go ahead and make another cloud. But in case it drives out to be darker, I might just use this. It's all about experimenting as you go. Now right under, as you can see right at the bottom part of each of my clouds, I'm going to go ahead and add in some of these horizontal strokes again. But this is to show that this area is receiving the light and that's why it appears to be lighter and also adding a little bit of contrast into your clouds and they don't look just flat, right? Not just a single color, but rather there is a blend of different shades and blend of different lights and shadows play happening even though they're not working so much in the details. Next, I'm going to make my yellow and my white together. And using this even lighter shade, I'm adding these strokes under the strokes that I've just made. So you had the deep blue or the grayish color and under that you had the orange and then under that, I'm adding a little bit of yellow, focusing majorly around the area that is around the sun. And then once you're done with that, you are just going to clean your brush and then using a damp brush, just reactivate the paint and blend it out. Also, you will notice me how I'm moving the paint around, but at the same time, I am tapping off the extra paint that I might have moved. So let's say I'm tapping of the extra blue that I might have lifted. I don't want to go into the yellow and the blue. So I'm just going to go ahead and tap off the extra pain that are moving around and making sure that I'm cleaning my brush regularly so that it doesn't end up very muddy. So make sure you are cleaning your brush and your doing it in that format. I've added a little bit of yellow around the sun and then again reactivated the edges and smashed it out while it's dry drying, I'm again focusing on the clouds to get in the details there before I go ahead and paint the sun again to make it nice and prominent and a lot more white. I would say this is your time to look at the clouds and see what are the things that you would like to change. If you, if the color is too dark, then you might want to add a little bit of the lighter tones Just work with your clouds accordingly. So you can take some time to work on the details over here. And once you're done with that, you can clean your brush again and then add in the sun. You can also smudge out the top part of the clouds and a little bit so that it blends with this guy. But again, it is not a compulsion. You can leave those harsh edges as well. So there's no compulsion here. Just enjoy the process. Do look at the reference image as you go because it will really help you understand the composition and then bit better. And you will see how I am breaking down a reference image and painting. And this will make it easier for you to do it yourself as well. Next, I'm loading up a little bit of white into my yellow mix and using that color, which is like an off-white color, I would say, but still a lot more towards the yellow side. I'm going to add in some clouds in the yellow area of my painting. So the basic idea is to not have this color be really dark or rather even light. It's just wanted to merge with this guy. So that's why I'm using my yellow color and a bit of white in it so that it is, it does show up on the yellow color, but at the same time it's not too deep. I did add a bit of orange just to show a little bit of depth in these clouds. But again, went ahead with the white and added it at the bottom just like we did for the clouds around the sun. So Create, to create that effect. Again using this white color, I'm also adding it on my clouds, the ones at the bottom as well, because I felt like the highlights in those clouds turned out to be a little bit darker than I expected, especially after when I move the colors around. So valuable is too light. So I went ahead and added that in. And then again, you can clean your brush and smudge out the harsh edges to make it blend with the previous layer like I'm doing right now. But I'm doing it very lightly. I'm not focusing on an exact blend, I would say, is just that those harsh edges, if they are sort of blended and it looks good. I really like the way this cloud looks right now. I'm just going to leave it as it, especially for the clouds around the sun. And then focusing more on again, the clouds that are in the other remaining parts of my sky. For that, I'm going to mix my white paint and using a thick consistency of paint, I will just add in some texture on the clouds are rather on the sky. I will add in the textures of the clouds on the sky. As you can see, it does not show up so much and that's exactly what we want. We don't want it to be very vibrant and just, I don't want it to catch all your attention, but I do want it to be visible. So once it dries, it will dry out to be a little bit lighter. So it will be a lot more visible than it is right now, especially when you are just putting in the paint. I've just added in some horizontal clouds and some textures. And the very top of my painting, I really like the overall look of the clouds here. What I'm going to do is I'm going to let this dry, leave it. I'm not going to overwork on it anymore. And I'm going to go ahead and paint the sun. So like I mentioned earlier, I will be painting the sun by just using white paint. I just wanted to create the glow around the sun first. And then I've added a circle. And then you can also sort of smudge out the edges if you'd like, very lightly and very gently, you're not going to smudge it out so much to just the edges is just slightly going to smudge it. And I like the way this is looking right now. I'm going to leave it to dry. Alright, so now that everything has dried up, it's time for us to add in odd hills. So for that I'm going to be using a deeper grayish, bluish color. Again, it's the same mix for the clouds, but this time just added some more paint and made it a little bit more darker than the clouds. I'm going to go ahead and carefully go over as my sketch. If your sketches gone pleased to redraw the shape. And I'm going to go all the way towards the left end, right, because it doesn't matter. We've got some foliage at the bottom which will entirely cover that area. Next, I'm mixing my yellow with a little bit of the red and there was a little bit of blue, so it got into this muddy brown color. But I like how this color, which turned out to be almost like a mistake, worked really well for what I want. So basically we want to go for a lighter color or like a warmer color for the area around the sun. Because that's going to be receiving some light and glow from the sun. I've added a bit of white because the color was too dark. And just using a little bit of white and a damp brush, I'm just blending everything into one another so that the blend is a lot more seamless than it looks right now. Once you're done with that, just let it dry and then we'll move on to the foliage that is above the horizon line. For that, I'm going to mix my sap green and black. You already know the way this goes, right? Be mixed sap green and black for the deepest green shade. Then using that color, which is, I'll just swatch it for you right now. This is the shade very close to black, but not entirely black. I'm gonna go ahead and create a bunch of vertical strokes just to add in a difference in the foliage that you're seeing there. Even in the reference image, you can clearly see how some of the EDA is bigger, taller, chateau these variations and the shapes and sizes. And that's exactly what we want. We want it to have variations in the shapes and sizes, right? So go ahead and cover the leftmost. And then using similar type of brushstrokes, you will do that towards the right as well. So left and right. I think I missed I think I said the wrong direction. You're doing it on the right and then you'll do it on the left. I end up making this mistake so many times. My apologies for that. I'm doing it on the left, right now. Very similar brushstrokes. You can see how there are some vertical strokes and just varying the different sizes in it. Again, one more thing that you can clearly notice is that the leftmost and rightmost area is taller and the center most is a little bit shorter. In the center, I'm again using that warm brownish color because I want to show that that either receives a little bit of the blue from the sun or the light from the sun, and that's why it's lighter. And one of the reasons why I've made the leftmost and rightmost AD or taller is because I want to show that two point effect where the center most is even further away from the observer and the left and right one is slightly closer. I hope that makes sense. It will also make sense when you look at the reference image because I'm just going by it and trying to create something similar. I've also added a bunch of, bunch of stems and branches and details like that on the leftmost or the right-most area. And once you're done with that, you're going to let this dry. And then in the next lesson we'll be painting on the details at the bottom. 45. Day 13 Part 3 : Countryside Sunset: Alright, so now that we're done with almost the entire Ada that is above the horizon line. We're going to focus more on the area at the bottom. But before we go ahead and start painting the, the grassland or the land and all the details. I'm going to go ahead and using my round brush, I'm gonna go ahead and add in some lighter green details for the foliage, just to add in a bit of highlights. Now, again, very similar to what we've done in the past. You're just going to pick up different sections and then create these strokes in the same way that you would have done in the past, creating different sections and flowing along the way in which the light falls. If the lightest and the center, you will receive it on the left, almost like the left area of the right side and the right area of the left side. I hope that makes a little bit of sense. So just imagine the sun being in the middle and the lightest flowing in and it lights up the left and right side. But it's just almost like in the opposite way. I hope, I hope that is making sense at this point of this new can see it and that makes a lot more sense when you see it. Once I'm done with that green, I'm going to add in a little bit of yellow and white into it. So this green will appear to be a lot lighter than the ones that we just bought. We've got two layers already for that foliage. This is the third one that will add, and we're done with the third one. Actually don't have too much. Then again, I am picking sections and you can clearly see how I'm making these strokes, focusing in different directions. Obviously some small, some are tall and focusing more on the left side of the right foliage section. And then as we move to the left side, I will focus more on the right side. So again, keeping that same concept in mind, you'll go ahead and just highlight some of these sections that you're seeing. This will be not only at the top, it will also be for the era's at the bottom, discovering that entire or section. So some at the top, some at the bottom, and just basically picking up different sections. You can watch me do this, pause and then do it yourself. It makes it a lot more easier when you paint along with me like that. I am, I really liked the way this looks right now, so I'm not going to add in anymore highlights. And then we'll focus directly at the grassland that we're seeing. I'm going to switch back to my flat brush because it makes it a lot more easier to do the blending process. So this is the share of the green that I have. So it's almost like a slightly lighter green. It has yellow sap green, a bit of black and white. And I'm going to go ahead and add that right below the horizon line. Basically you want this green to be lighter than the one that you've used or the green that you've used at the top to create that difference that you're seeing. Then right below that I've added a bit of black in it and then again added that so that we're creating that variations of different shades of green in our painting. You can also switch back to adding a lot more sap green and then blending it in. This is all done using my flat brush. So I've got a darker green than a medium green and just playing around with different shades of greens. And I'm adding it to bring this all the way down till your line for the road that you've sketched out. And you will add a bit of black into it just again to get a darker green mix to create a base for all the tall grass that we have to make later. And then using this darker green, I'm just gonna go ahead and add a bunch of different random strokes in different directions, making sure that the line is nice and intact and straight. But the top area or the foliage that we have to make can flow in different directions. You can also use a round brush for this to get a more precise effect. If you are not comfortable with your flat brush or directly, you can do that as well. Switch back to us Round brush and create these Strokes. See how the bottom area is very uneven, very textured. We have to add something on that. You can clearly see that you have to do something there. It's not just going to be left alone like that. Once you're done with that, I am going to mix this gray color, which is a mix of my blue, black and my yellow color. So it's just like a muddy, grayish mix that I need to have to make it a bit of yellow, blue, and black and white together. So this is the shade that I have and I'm just going to go ahead and apply it at the bottom. You can also make a deeper gray mix which is add a little bit of black into that same mix, and then just create different variations of shades. So right now we're just going to be creating the base color and then we'll be working on it to add details on top. So I really like the way the basis turned out that it dry. And now that my base has completely dried, you can see did get a little bit darker than it did when you just laid out. Once you're done with that, you are going to go ahead and using a darker green mix. First, what I'm doing is outlining the base where the road meets the land or the grassland area. And then using a lot of different brushstrokes for these branches and uneven shapes. I'm going to go ahead and create those uneven shapes. But again, making sure that I'm outlining the base first So that I know what the grass lesson now makes sure that the darker green shade that you have shouldn't be too dark. Because if you make it too dark, it will look very odd. So you want to get a medium green mix using the shade. I'm just gonna go ahead and create a bunch of different grass shapes going in all different directions. And very cluster, they're not like individual grass shapes. Right? So I'm just making a branch and just around that, I'm making just lines in different directions. Like the best way I wouldn't be able to explain the brushstroke that I'm making. It so very, very random and very, very uneven. The more uneven it is going to look the mode Adrienne it is going to be, the brush strokes will be very similar to, not something that I've taught in this class specifically, but it's something from my previous class. I think if you've watched that, the brushstroke would be easy to follow. But again, in that also I explained that it's very randomly spread out. And then again, using this green mix, I'm just going to add in some texture on the grassland area because that is not the main focus of our painting. We don't really have to add so much details and fine details on it. I'm using a lighter green mix and I've added a lighter green texture as well. For this dark green and slightly light green texture is all that you need for that area. Once you're done with that, I'm again making my dark green mix, which happened to get over. I'm just going to go ahead and make some more plants that I see. I really liked the way the plants look. Now the next thing that you can do is take a pencil because you're going to sketch out your tree. Now, like I said earlier, if you make your tree initially, like if we did, we did sketch out the train. It will get covered because gouache is opaque. So you can either sketch your Tree or you can freehand. Go freehand. Just enjoy the process, go with it. I'm just sketching out the Tree just to understand the basic structure of it. Because over here, if you really see the Tree is standing tall but the Leaves are flowing down. If I were to explain it, That's how I would it feels like the leaves are falling down, right? So we want to work. In that same manner. I'm creating a mix of sap green, black, sap green and black, a little bit of yellow if you'd like, just to get the base color. That will be the shape that I use. Again, focusing more on a very, very dark shade because it has to be close to the black color or a dark green color. So that'll be the shade that I use. Now using this color, I will go ahead and outline the sketch first. So we are going to focus on getting the shape of the outer structure of our three needs to be placed first. You can see how I'm just using my same brush, which is my size four round brush, to create the entire structure of the Tree. It's not like you don't, you cannot change your brush or whatever. You can go to a smaller size brush as well to add in final branch details. To get a lot more controlled branches. You can see how I am making the basic structure. One more thing that you're seeing me do, which is very different to the trees that I've made earlier, is, like I said, the Tree Looks like the branches go up, but the leaves are falling down. Over here, some of the branches you can see how I've made that I wouldn't generally do In a typical tree. That is just go 90 degree to the main branch or just flow downwards. I wouldn't generally do that. Now, once I'm done with the basic structure of my tree, I'm just going to start adding these little dots. Like, it's like a combination of lines and dots and things like that. It's like a combination of all of those things. Basically trying to cover up this entire section with Leaves. And you can see how I want the leaves to flow downwards. And even though I am making lines and dots and uneven shapes that there is that flow that is created dried. You can clearly see the leaves are flowing downwards. Along with the tree itself. You can add in some plant elements on the sides as well. Another thing that you can do is which would make the process a lot more simpler is using a spoiled brush. Now the spoilt brush is, will make it simpler. But you have to make sure that you are moving in the way you want your Leaves to look. If you want the leaves to be flowing downwards, you want to create that stroke in that same manner. One more thing that I've done here is the consistency of this paint with the spoiled brush is slightly pin on. So when it dries, it will be slightly translucent And on top of that, I can add in structures or shapes with my round brush, which will define the structure a lot more, which will make it appear like even better. Now, you can clearly see how using the spoilt Brush was a matter of seconds than it would've been with your normal brush. And also a combination of these two brushes. I think it's perfect for painting trees where you have to show a little bit of leaves and foliage and things like that. It makes it a lot easier Specifically when you're working on a tree that is further away, am I talking about trees that are very, very close to you, where you're seeing all the details of the leaves. I'm talking about trees that are at a distance using my round brush. Now I'm just defining the end just to show some defined leaves and branches and details like that. Now obviously the Tree, the reference image looks a lot better. But this is still kind of like an adaptation of the Tree that we're seeing in the reference image. Along with the tree itself, I'm using this darker color just to add in some more details for the plant elements. So you remember how I told you that the green that you are using there shouldn't be too dark because it will look odd. This was exactly the reason. Because now I want to use this shade of green, which is a slightly darker shade of green, to add in some depth in it, to add in a little bit of contrast. And I'll show different variations of green that you're seeing right at the top. I'm just using the green that I use at the top. I'm using that at the bottom as well just to define that are separation that you see between the road and a grassland, right? So you can see how just adding a few strokes of this darker color really defines everything a lot better, brings it out a lot better. Now once you're done with that, it's time for us to add a bit of texture for the ground. So I'm going to create a mix of my black and white with a little bit of blue and yellow, just like that money makes that we used for the road will be using exactly that, but a slightly lighter version of fit. So it will have a little bit more of the white color using a dry brush technique for the Road, I'm going to add in some textures. Now since it has way at the bottom, not seeing a lot of details of that. So you don't have to work on a lot of details here as well. Just adding a bit of texture will show you that it's a different ground. It's, it's uneven and things like that. You'll be able to capture that with just a bit of texture in a dry brush technique, ICME can use the dry brush technique you, along with some horizontal strokes that you can add, that once you're done with that, you're pretty much done with the entire painting. Now one thing that I would like to do is just defined the bottom bit, a little bit more. I could add in some more details for the the, the stems of the grass and a little bit of branches and just plant elements at the bottom just to define it a little bit. You could do that just to create that good separation. So like I told you, adding that darker green shade will really make your area come out a lot better. And as you can see, I'm immediately when I added, it looks so much better. You can see how it is defined. You can see every plant element, but at the same time you can see different shades of green there. But overall, once you're done with that, this is eight. You can look at it. If you think you would want to add something before you pay the tape, please do that. I was happy with the way mine looks. So I'm just going to be the tape away from the paper. And immediately as soon as the tape comes off, you can see how beautiful our painting looks. I love that Tree. I love that. We were able to capture that. And let's have a closer look at it. I did sign it to make sure that you're assigning your painting. But overall, this is your entire composition. For 33, I love the glow of the Clouds, the sun, just the different shades of green like everything about the speed day is, has to be my favorite. And I hope you enjoyed painting this with me. Here's a sneak peek of what's coming on day 14. 46. Day 14 Part 1 : Misty Morning: Hello, hello, Welcome to your 14 Class Project and here's what we're painting today. Let us talk about all the colors. I'm using cadmium yellow. Next I have Prussian blue. Next I have primary red, which is my favorite red. I have sap green, and I have jet black. And lastly, I have my white paint, which is my permanent white. You can use titanium white as well. So gathering all your supplies and let's get started. Alright, so I've taped my paper on all four sides and taken all the colors out, as I mentioned earlier on my palette, we're going to start off with the sketching process. Now you can clearly see in the reference image, which is on the left that you can download from the Projects and Resources section for yourself as well. You can see how you've got a series of mountains. In the foreground. We've got some pine trees and just a bunch of different foliage of different shades. So you're going to start off by first sketching out your furthermore that you're seeing that almost orange, yellow, orange kind of Mountain your sketch that then you're going to follow around that Mountain and kind of like plays in all the other Mountains that you're seeing in the way that you're seeing in the reference image. You don't have to always go all the way towards the left and right. You can clearly see how maybe the second one gets intersected by the one from the right. So you'll just have to make the line only halfway. My doesn't matter for you to go ahead and create like a perfect sketch here because a lot of it does get sort of covered with gouache because it's an opaque medium. So you don't have to create that perfect sketch. In the front, in the foreground. You've got a bunch of different foliage of different shades so you don't have to sketch anything will try and achieve that look while we are Painting, the only thing that you'll have to understand is the placement of the level of that area. You can see how it's a slanting line, right? And you've got a bunch of different trees, pine trees of different sizes there. And then again in the foreground, which is the full URL, which has the foliage of different colors. We might not do different colors. We might do different shades of green. So kind of like improvise as we go. We will also be changing the look of this guy a bit. So will not be doing the Clouds. So this is the way in which you change things depending on what you feel like doing in the moment. So let's just quickly dive into the painting process. So here I have my size ten flat brush, which I'll be using for all the blending process to create the pinky color or the pastel pink color, orange festival orange color. I wouldn't say pink is a little bit of a peachy color that at the bottom. So it's a mix of my pink, yellow, and white. The more yellow you add to it, the more orangey it becomes. And if you add more red, it'll still stay on the pinker side. So this is a shade that I'm using. And I'm going to apply it carefully at that area where first, second Mountain starts, let's say not even the first one. The second one is almost like it's almost horizontal, I would say so it gives you that nice level that you need. We can cover the, for the most, which is the one at the extreme back. And that's the shader I'm using for the orange. Next, I'm creating a purple, very, very light purple color. So it's a mix of my red, my primary red, my Prussian blue and white. So more white, very little of the red and blue. I'm going to add it. That's the shade that I have. I'm going to add it at the top and I'm going to start bringing it downwards. Now, very similar to blending of two colors over here, we will be using white to blend it together. Now, these two shades are very light, so Mixing them will not create that much of a muddy mix. But I'm still going ahead and choosing to create the blend using the blending with white method because I don't want to risk it. So I'm just using that. And I also want like a lighter color when the transition is happening from the transition of the orange to the blue, I want a softer effect in the sky, and that is why I'm using the blending with white method. I'm using a bigger brush to make the blending process a lot more smoother and faster. And right now, you can just use a bigger size brush to speed up the process of blending. It makes it a lot easier to blend using a bigger brush. And instead of using paint, you can also use a clean brush to move the paint around. But also you'll have to see that you're not adding too much water into your paints because then it starts becoming very light and starts behaving like watercolors and will lose its opacity. So you have to be careful when you're blending here that you don't end up adding a lot of water into your paint. I really liked the blend, so I'm just going to let this dry here. And now that my paper has completely dried up, I'm going to go ahead and sketch the Mountain again that I'm seeing other distance because it has been covered. It makes more sense for me to go ahead and redraw the shape so that I don't lose the sketch that I have. If you're able to see the sketch, then you didn't have to do this step. Now we're going to start off with the Mountain at the distance. So I'm going to mix a little bit of black color into the orange mix that I used for this guy. You can also add a little bit of the pink and the yellow color together to make a deeper version of the color. But basically we're looking for a shade which is slightly brownish, but it still has that orangey undertone in net-like the one that we used. So very muddy mix. I'm going to carefully apply that using my round brush. So you can see how I am just covering up the tip of the Mountain with a thicker consistency. As I bring it down. I am not faring so much about the cuts to see because I want it to be lighter. I also wanted to have that sort of Misty effects like we've done before. So the tip or the top part of it is going to be a lot more darker. As you bring the color down, it will become a lot more lighter. So that's the way in which you will create that effect. You can also add white Into your paint and just add the white paint at the bottom part of your Mountain shape. You can clearly see how these lines are really harsh right now. Just using a clean brush, you can go ahead and blend all of it out together again. If you think the Mountain got to light, then you will just repeat the same step but with a darker color. I really liked the way this looks. I'm just going to let this dry. Now, this has dried up. I speed up my process by just using a hairdryer. I'm going to move onto the next one. For the next one, I'm just adding a little bit of black into my same mix. That is my blue and purple mix that I used. Then I'm adding a bit of blue and pink in it to basically getting a gray shade. And it's not a very, very dark gray shade. So I'm going to use this color as the Mountain that is below the orangey, muddy one that you used. I'm going to carefully go ahead and apply that. Now the next thing that I am going to do is actually create mixed with the orange one. And I'm going to cover that and blend it together. So right at the bottom, I just want to create that softer effect and a lighter effect in that transition instead of it being so harsh light. So that's why I added a little bit of the color from the previous Mountain and the addict that glue on top of the darker one that I made. I like this. So we're going to let this dry. And in the next lesson we will be adding all the other Mountains and Painting 47. Day 14 Part 2 : Misty Morning: Alright, so now that both the Mountains have dried up, it's time for us to move on to the next line. So as we know, as we go like lower or closer to the observer, the color of the Mountain time.com. Right now I'm mixing a little bit of black and blue and a little bit of white into the same mix that I created. This timer just has to appear to be a little bit darker. And then using my round brush again, I'm going to apply it at the top, keeping in mind that the shape has to be uneven. So try creating the shape in a very uneven manner that will make it look a lot more natural. Then using your brush, you can just bring in the color down. You can also use white paint to lighten the color and a lot of water to lighten the color and create that texture very similar to what we've done in the past. Using the same concept here. I'm using a little bit of water because I wanted to light in the colors. I'm using a mix of water and white. And then using my brush, I'm just blending everything into one another so that the lines are not that harsh and they do appear to be an even and try and get a little bit of texture out of it. I liked the way this looks, so we're going to let this dry. Alright, so now that my section has completely dried out, we can see how we have that texture play in it, right? So now we're going to move on to the next one. Again, I'm going to create a mix with my black paint, my Prussian blue paint. I'll also add in a little bit of white so that it's just not too dark and has kind of matches with the previous shades and it's not just black. All of a sudden. This is a shade that I have. It does appear to be almost black, but it is a very, very deep shade of Prussian blue. Now over here, the shape of the Mountain that I'm creating has that word, the curl lines. And I'd like you can see a very compact vertical lines of different sizes. And doing, doing so, it brings into account that you want to show that there are a bunch of different trees on that. And that is exactly what you are seeing as these vertical lines. And since it's further away from the observer, you're not seeing a bigger version of it. And that's how you're going to create that effect. Now I'm using a little bit of white, again to light and the bottom part of it to create that sort of Misty effect and a color difference in my Mountains. You can also use water here, but I'm using a mix of white and a very light consistency of it. Using my brush, I'm just blending everything into one another so that it's sort of merges into one another and it doesn't look just harsh as is. So you can use your brush to kind of create that texture. Along with the darker color being at the top, I'm just adding a little bit of dark colors at the bottom, which is the lighter part of the Mountain as well, so that it has that textured effect. And then using my round brush, I'm also creating some taller trees so that there's a difference in the sizes of these vertical strokes that you can see. Now, a lot of it will get covered with the trees that are in front of it. But it's always good, always a good idea to add in a little bit of indifference and the shapes and sizes so that it appears to be a lot more natural. So you can see how I'm only doing it majorly on the top portion of the Mountain, which is going to be still visible. And the bottom one, Augustine's going to get cupboard. So that is already, we can skip that. Them let this dry. And now that this has dried, we've got four sets of Mountains are series of mountains next to one another. We're gonna go ahead and create the next one, which is the bottom-most area, right? I'm gonna go ahead and use a mix of my sap green and my black paint here. So we're not using Prussian blue, we're using a mixture of sap, green and black. So here's the shade that I am going to use. It's very, very close to black, but it's not black entirely. Now the idea here is to just cover the majority Part of the portion with the black color, the darker color. And especially at the top that you are saying we have to create a bunch of trees. Now this is a very interpretative motion. We're just going to create a bunch of pine trees. And you just want to vary the sizes of it. Now, we already have the sketch. We knew exactly where the trees are going to be. You want to try and cover the white part of it that you've left behind. That it is going to be entirely filled with a black color. But all the era that does not have the white and the Ada above the white section is going to be the area or the line at which you will make your pine trees Now, these pine trees, either few things that you have to keep in mind when you're making that. And that is the shape of it. Obviously, you can play around with shape of it. You can look at the reference image to get a clearer idea of the different types of pine trees that you're saying. I think in the reference image you can see a bunch of variations and you can play around with some pine needles and the branches moving up and some of them moving down. So you can bring in that variation as well. The other thing that you will notice is the sizes. Some may appear to be taller, some of you are to be shorter. And to bring in that difference of distance, you will make the, the one that's closer to the observer little bit more, bigger and thicker, the one that is further away from the observer. You will make that to be smaller, kind of hidden behind in-between two trees and things like that. That's how you will play around with the distance immediately as you finish making a bunch of trees, I just want you to bring the color down and fill up that area as you go. So that is something that you do it altogether. So as you make, let's say three trees bringing the color down and fill up that space. Again, go ahead and create a bunch of trees, like two or three trees, fill up that Adrian bring the color all the way down. So this is just going to be a repetitive motion. Nothing different is going to happen here. You will just have to create a bunch of trees and then bring the color down and it's going to all lay flat, right? So all of the colors that you will add is going to lay flat. It's just a dark color. And then on this black shade, on this dark shade, we will build upon the different layers to show the lighter parts of the foliage that you are seeing, especially in the era that is going to get covered or which is black right now, we're seeing the trees and in front of it will have a bunch of different colors or shades of green even. Now over here, I've taken a different approach as compared to what you've seen the reference image. I think I've done both of these methods where I have tried and done different shades and in this one will be doing different shades of green. I've done both of those. And I just wanted to take a different approach to the same reference image that I've painted in the past. You can look at it on my Instagram. I think I painted that last year. And obviously I wanted to do it again and teach you guys how to paint that as well, but with a different approach. If you'd like to change the colors of the foliage that you are seeing, please feel free to do that as well. Now I will tell you how to approach that when we start painting that which is going to be in the next lesson. But if you feel like changing the shades, please do. Now over here, I am, as you can see, playing around with this sizes of my mind trees, the shape is the same. The only thing that I'm reading is the sizes. And also kind of like the structure of it, I would say like some a lot more followers, some are a little bit more wider, someone little bit more narrower. You can play around with the shapes of fit and the sizes of where and the structures of it. The more you play around with it, the more natural It's going to look. So that is the only thing that's changing here. The trees that are on the leftmost side, I'm going to go ahead and create them in a way that they are bigger and taller as compared to the ones on the right side. Because I want to show that the leftmost eight is still slightly closer and the trees are slightly closer to the observer. So that's how I'm bringing in that play of distance in this area. Now for the pine trees, if you've watched my previous classes, I've got a detailed version of pine trees and in those, but in case you are not comfortable and you have doubts about creating these trees, then I would suggest that you watch me how I do it. Practice it on a scrap piece of paper or a paper that you use. Just this is like a rough piece of paper and then bring it into a painting. This way you build on, you get a little bit more of the confidence to do it in your final painting because I totally understand sometimes we end up creating the shapes of the trees that we don't like. And I know this because I've done that so many times in the past when I was in my learning phase, I would create reason. I would end up not liking my Painting entirely because I just didn't like the shapes of the trees. So please feel free to do it a couple of times on a scrap piece of paper before you put it on your final painting. Anyway. So I really liked the way this has turned out. The layer looks amazing. We're going to let this dry. And in the next lesson, we will be adding all the details for the foliage 48. Day 14 Part 3 : Misty Morning: Alright, so in other, my base layer has dried up. It's time for us to start painting the foliage. So we're going to start off with layer two. The one that is at the back is layer one. This is layer two. I'm using my spoilt brush because I want that texture effect and that uneven shapes. I'm going to create a really dark mix of green. Now this one has to be slightly lighter than the one that you have made before. So make sure that your dark green is not too dark because the fetus, it will not show up with Gouache. The thing is that especially darker colors, they will be dark as you apply it, but they tend to become lighter when you, when it dries. You'll just keep that in mind that this color is, it looks really dark, but it is going to dry down to be a little bit lighter than it looks. Now over here, I'm just trying to find different sections. I'm going to tap in the green. You can pause here and you can see how I'm picking other sections. But it's not like the Lake over here. I am not making the sections in a way that it's two defined because this is just a second layer, right? Even if you end up covering the entire area with the shades of, the shade of green, it's completely okay. The only thing that you have to keep in mind is you're not covering it completely because you still want to be able to see the previous layer, which is your black or the darker, darkest green shade. So you still want to be able to see that Europe just uses darker green of color to create a base for the, the, the green shapes. I know that there's a bunch of different leaves over there and does dry down to be lighter, like I said, once it dries like it did over here, you can clearly see that it almost covers the entire of that area, right? Arteriole able to see a difference in what section is where? Now I'm creating a mix of sap green and the darker color. This one appears to be slightly lighter than the key, this one. So as you build on it, you will create lighter and lighter and lighter shades. Now again, using my spoiled brush, this time I will carefully picked sections and only add this color in that particular area. So you can see how this almost like this curved effect that I'm making and it's not like I'm making this brush stroke early on the curve. And that works out because when we're using a spoiled brush, so it's going to create these effects, are these dots in all directions. But you will still pick out sections. And you want to go in like this curved manner or like this slightly we manner so that it looks like it's follower and that's a lot more 3D than it appears. Now. Even the shade is going to dry a little bit lighter than it looks right now. Over here it appears to be dark and you really you feel like there isn't a lot of color difference in the way it appears, but it will dry down to be slightly lighter than it looks right now. Either way, we will be building on this area and adding an even lighter color. Now that you are done with this, which is, let say 70% of the area of the previous brush stroke like we've done in all our previous projects. I keep telling the same thing. That that's a concept you have to use. And this is the third layer, that fourth layer, the other, if including the black one, this is the fourth layer that we're adding to this. I'm going to mix my sap green, a bit of the yellow color, and a bit of the darker color. So this is the shade that I get. You can see how it is lighter than the previous one. Again, using my spoilt brush, I'm picking these sections, different sections. So it should appear one is at the back, one is in the front. And that's how that fuller effect is created when you're painting something like this. So at the top of the previous year you will add this section, right, not at the bottom because you want to build on the previous layer. So I'm just going to add the stroke on the previous brush strokes that I laid out, making sure that I'm not completely covering it so that you're not able to see the previous layers at all. You have to keep that in mind, that you are, that you want to be able to see all the different layers of colors that you're adding. So that's how you create that effect of that fuller, greener and fluffier effect in your plant elements that you paint. Again using the flood. I mean by spoilt brush, I'm adding that stroke. And while it's drying, I'm going to switch back and change the shade of green. You're going to let this dry. You can add in a couple of strokes wherever you feel like it's needed, but otherwise you're going to let this dry. And the next shade of color that I make is going to be a lighter shade. So adding a little bit more yellow into the mix, you can clearly see how the sap green has turned out to be a lot more warmer right now. And you can also add in a little bit of white to make it slightly more opaque and a slightly more lighter. So I'm going to create this mix It is bit of a change from the previous color, but that's how I wanna be able to build on it. Now again, I'm using my spoiled brush, just tapping it very lightly and gently. Just at the tip of these different sections of the plants that I have, they can see how you're purely able to pick out these chunks of plants that you see. Sequencing 123. This is my fourth section that I have. And right next to it is my fifth section and so on. You're able to distinguish between the different sections that I have. So again, even this can be a little bit complicated to do if you haven't watched my previous classes and you're new here. Because I've done very similar concepts in the past and my previous projects as well, and even previous classes as well. So if you're new here, this could be a little bit challenging to do, but there's nothing that's impossible. So you can just try it out on a scrap piece of paper first and then bring it into your final painting. And trust me, the more you do it, the more number of times you brooch a single, a single reference images. Well, you're going to turn on with a different painting each time. Obviously if we're trying to create interactivity, trying to change certain things about it, you will end up with a different painting each time because you are changing a lot of things about or you're not adding the Clouds and let's say are changing the color of the plants. So you end up creating a lot of different effects. Now the next mix of color that I'm making is a mix of white, sap, green, a bit of pink and yellow. This is the shade that I get. It's a very, very light shade. And I'm using my round brush here and just the tip of my round brush to create these highlights. Instead of using my spoilt Brush, I'll be using my round brush itself for all the finer details. This is going to be the last layer, if I guess. And I hope so because I didn't think I would need to add anything beyond this, but let's see. If it dries out to be darker than I expect that I might have to add another layer. But right now, I'm really liking the way this looks with my round brush. I have a lot more control over the way in which I want my brush strokes to look with a spoiled brush. The brush strokes move in all directions and everywhere. And it's lot more textured effects. It's very good when you want to create that fluffier look. If you want a lot more detailed areas and detailed brush strokes, obviously we will switch back to around brush because it gives us more control. Right now we're going to go ahead and just add in these details using our lighter color around brush. Again, keeping in mind that you want to add this on top of the previous layer, but still make sure that you're able to see the different shade of green that you put before that. You can see how I end up going around the previous layer. Still able to see that light green that we laid below the, below this layer. But at the same time you are seeing a new shade of green being laid on top of it. But this is how it goes. So we're just going to add this and we're going to let this dry once we're done with it. Alright, so not that you are done with laying on most of the brushstrokes. Just take a step back and look at it and see if you'd wish to add any more strokes here and there. Now sometimes when you're looking at a painting for too long, which is kinda stuck in our head. And just too much. And you're not able to find mistakes and things you'd like to change about it, or things that could be added to it. So take a step back, take a walk and come back and add in, look at it from a different perspective and adding the things that you'd want to add. I really liked the way this looks. Very end minute. I actually decided to change something about as Painting. In the reference image, you can clearly see there are a bunch of Clouds. So the top part of the top half of my painting looks a lot fuller. And over here it looks very empty. And that is why I decided to add in some birds. For the birds, I will be creating a letter R and then extending very, very lightly the wings on the sides and then making a.in the middle for the body of it. I'm not going to tell you exactly where to add it and how to add your birds. Because I want you to just add them or not at them depending on what you're feeling. And just enjoy the process and make this painting are owned by doing things that you wish to do. I've added five birds because of the log odds. So I'm going to add them in odd numbers and I will suggest you do that same. Once you're done with adding the birds, it's time for us to add an inland port of highlight on it. Right now it looks very, very dull because it lays flat, right? So to add in a little bit of highlights is just, I'm going to use my white paint and just create those strokes on the bird's wings just to add in a difference in the color and just add in a little bit of pattern on it. Now, if you feel like you added too much of the white, you can go back and add in the black just so that it looks normal and doesn't look like the white is resting on top of the Leo. And I really liked the way this looks right now. It did take away from the sky being really empty because the foreground was really busy. I really like how this is all come together in the end. And once you're done with it, make sure that you're building the tape away from the paper. It's been 14 different lessons that we've been together. I hope you enjoyed painting this along with me. Before we have a closer look at it, let's sign our paintings. I use an acrylic marker for that. You can use a white pen. You can use a white color pencil, whatever works for you, makes sure that you sign it before you have a look at it. Anyway, now that I'm done signing mine, Let's have a closer look. I really, really like the way this looks right now. We've got a beautiful set of Mountains in the background. Some beautiful foliage and color play of different shades of green, the foreground and the birds really add to the entire composition. Altogether. I love this. I hope you liked that too. And here's a sneak peek of our last and final class project 49. Day 15 Part 1 : Oh my Daisy: Hello friends, welcome to your fifth and last Class Project from the challenge that let's talk about the colors that we need. That I have cadmium yellow next to have Prussian blue. I have burnt umber. Next, I have sap green and are black and white sheets, so that is my jet black and my permanent white. Of course, he can use titanium white as well. So these are going to be the colors that are used. Let us get started with the process. So I've taped down my people on all the four sides and I have taken out all the colors on my palette. And you have the reference image that I'm using on the left of the screen. So keeping in mind the reference image, you can clearly see how we've got a foreground element, which is your daisies and all the little stems and leaves and all those things there. And then at the background is a slope, that is our land part. And we have got a bunch of different trees that you can see. Let's call that our middle grounds. You've got those elements in the middle ground. Bunch of different trees in the background. I would say we've got a series of, let's say, three Mountains that I can clearly see. One being green and the two at the back, we can see there are a very dark shade of gray and blue, something of that sort. So those are the three sets of Mountains that you're seeing in the background along with your Sky. We will change the sky a little bit without the clouds, will make it without the Clouds. But other than that, we'll try and keep everything else the same, right? And in the foreground you can clearly see we've got like a beautiful field of daisies. And the ones at the bottom are a lot more bigger in size because it's closer to the observer, then the one that is further away appears to be as small dots. This is pretty much the sketch. Let's start with the painting process. I've taken my flat brush and we're going to start off with the color for the sky. So I'm going to mix my Prussian blue color along with wide and a tiny bit of black. The color that I want for my Sky needs to be in this bluish gray color because I don't want it to be like a bright I want it to be kind of like a muted Sky and almost like a cloudy sky. But we're not seeing the Clouds here. We're just seeing the color of this guy. Just a very dull, it's almost cloudy and we want to capture that cheat. So this is the color that I'm using as you can clearly see how light it is and it has that green undertone in it. Another dries, it will get a little bit lighter. So I've added that sheet at the top. And as I transition downwards, I'm going to add in a bit of white in it that is going to make the color appear lighter. So you can clearly see how I'm just loading up my brush with some white paint and doing the blending process directly on the paper. But in case you're not comfortable with that, feel free to make the mix before you go ahead and put that on the main painting itself. So a lot of times I find it easy to just go ahead and put the white and make the blend as we go. But sometimes it's okay to make the sheet that you need and then put that on paper. So you can see how I've got this beautiful gradient in my Skype. We've got the lighter color at the bottom and the darker at the top. And now we're going to let this dry. Alright, so now that my section has completely dried up, I've traced down the structure of my Mountains so that I know what is where. You're going to start off with the first shade of the Mountain. I'm going to mix a little bit of blue and black Into the same mix that I had earlier. And you can clearly see how this is like a darker, deeper version because we've got more black and more blue. I'm also adding a little bit of water in it, and I'm just going to lighten it with a bit more white. And then the other sheet that you are seeing, I'll use it for the second set of Mountains. I'm carefully going to go ahead and apply this color in the Mountain. That is the first one which is at the extreme back. So you can change the shape of the Mountains a little bit. You don't have to make it exactly like the reference image. I did change it a little bit, but I like the way this looks. It's now we let it dry before we go ahead and paint the next one. Alright, so now that this Mountain has dried up completely, it's time for us to move on to the next one. Adding a bit of green and black into my mix because I don't want it to be just like a bluish gray. I want that transition of green coming in now because the one in front of it is a lot more greener. So I'm going to use the shade. Again. I'm going to create the second Mountain that I see. Carefully go ahead and outline it. Create the shape depending on how you want it. You don't have to follow the exact shapes that you are seeing in the reference image. So before we go ahead and paint the next one, we let this completely dry. Now that this has dried up, it's time for us to move on to the next one. The next shade, I'm going to add lot more black and green into the same blend that I used earlier. When I'm making another set of puddle of my paint into that same blend that I use. I'm going to add in a little bit of black and gray and you can see how this is a really dark color. And I feel like this is a lot more darker than I wanted it to be. So I will add in a little bit of green in it as we go show the lighter part of the mountain that is then added this darker color at the top. And then using a little bit of water and I'll clean my brush. I've just loaded my brush with a bit of water. I am going to go ahead and just blend and moves the colors around. Again, not cleaning my brush and directly loading my brush with a little bit of green beans. Because we want the green to be not light, but a little bit dark. So I'm not cleaning my brush because the color that is already on my brush is going to do the job of darkening the color. And I'm just going to go ahead and create these little watercolors strokes to blend it with the previous color. If you're facing issues with keeping up paint wet, I will suggest adding a little bit of water in that section so that it remains wet. And it gives you time to blend these two colors together. Because the idea is to have these two different shades blended with one another. But at the same time you want to be able to see the darker green and the lighter green. I like the way this sucks. I'm just going to leave it to dry. Once it's dry, can clearly see how there are these hints of green that you are seeing along with the darker color. Now, for the next shade, I'm again going, going to use a color which is very similar to the one that we used for the Mountain. I'm also going to add in a bit of green in it. But again, the idea is to have a very, very dark green mix because now we're moving onto painting the trees. Now for the trees, like you can see, we've got a lot of whitespace there. We didn't come all the way to the bottom of the little slope that we painted. When you make the trees, you want to ensure that you are making that entire section lot more opaque, a lot more follow up with a bunch of leaves and details like that. But as you proceed on the top where you have the color for the sky, you can start adding a bunch of branches and leaves. Again, there is no particular order in which you're supposed to do this. Feel free to play around with the shapes. You don't have to follow the shapes exactly like you see in the reference image. But that is one thing that you have to keep in mind. That is that when you transition or move towards the right of the paper from the left side, you want to decrease the size of our plans and elements, right? So you can see how the left one is lot more bigger and appears to be a lot more fuller. But as you transition to the right, I want you to slightly decrease the size. Now, also the idea behind decreasing the size slightly is that you should be able to see the Mountains that you've made behind them, right? You can, I add fine details of branches, fine details of Leaves. But at the same time I would suggest that you make smaller sizes of the details that you are going to add. Play around with it. This is your last and final project. I am pretty sure you have. If you followed along, you pretty much have this hands-on experience of creating branches and creating trees and all our plant elements where you don't have to really focus on one particular type of tree. You're able to add like a bunch of shapes that resemble your foliage or shrubs, trees, whatever you want to call them, you are able to capture that essence with just a few simple brush strokes. This is going to be my base layer, like we've done in the past. This is going to be the base layer. Once this dries, we're going to go ahead and add layers over it to bring out the lighter colors in our painting. So right now I'm going to create a mix of green and black. But It's time, it's going to appear lighter because we want a lighter shade of green on top. And we are transitioning to the lighter parts. Now we're here using this green. You're just going to go ahead and create a bunch of strokes over the shapes that you've already made. Focusing more on obviously the outer structure of this particular section that you're picking out. But also you want to go with a few strokes in the middle as well. So you can see how I am adding these strokes, almost filling the center. But very likely are still able to see the darker parts of the shape that we're making. Along with the fuller trees, you will also add or some details for the branches and leaves and just make it look a lot more fuller. Show that it has a lot more leaves and things like that. So you'll use this color, focusing more on the top and the outer structure. You're going to complete this entire area with the shade. You can make a lot of the shade initially because I will make sure that you're not finishing up Paint as you go because that might end up having, you might end up having different mixes of the greens. And it can be a little bit complicated, especially when you're working with a particular shade for larger areas, it's lot more beneficial if you make more of that makes and then go along as you finish it. Right now I'm using this green color and you can see how I'm focusing more on the outer structure of the plant elements that I have. I'm creating these strokes very similar to the previous strokes, especially for the outer structure, similar to what we have done before in the previous layer. And I'm just adding strokes over it to bring out this green sheet. Along with the outer structure, I would suggest that you create some at the bottom as well. So that sense of like a repetitive stroke or a baton stroke goes, There's a bit of unevenness that you can clearly see, right? You want to show that some of this lighter color is at the bottom as well. Now I'm mixing a lot more of the sap green into the same public. A lot with a little bit of the yellow color. This will lighten the green a little bit, and when, once it dries, it will stand out a little bit more. Again. I'm going with this color and adding a few strokes. Now compared to the last two layers that you've done this time, the number of strokes that you make will be a lot less because now we're moving on to the highlighting bit of it. So the number of strokes that you make will be a lot less. So keep that in mind. Again, you know the structures that you have to follow and where the light is going to hit you. So I'm assuming that the light is coming from almost like the top, and it's not a very bright light. That's why the transition in the color that I have is not that bright. Because it's like a soft soft light. I would say it's receiving this soft light. And that is why are only seeing a very slow progress in the lighter colors of the greens? Syllable to see the different shades of green. Very, very close to the darker greens, right? So that's the way in which we are going to proceed with this. I really liked the way this section looks right now, are like it's coming along with a bunch of different strokes that I'm making an, especially once it dries, it will appear to be a lot more lighter. Like I said, these colors, they have their way of drying. It can be a bit complicated to understand, but it you eventually get a hang of it. I really liked the way this looks. We're going to let this be for this lesson. And in the next lesson we'll paint our middle ground 50. Day 15 Part 2 : Oh my Daisy: Alright, so before we go ahead to painting the middle ground and background for the bottom part of my painting, I want to go ahead and add in another color over the, the background trees that we have. So I'm gonna go ahead and create this lighter, makes a lot more sap green, yellow and white. And this is going to be the highlight color that I have. Using the shade I will add in some more strokes over the previous strokes that we have had already. And this is going to define structure a little bit more. It's going to define your different sections. In the trees that you have are the LN of trees that you have. It will really show that difference, will bring out the difference is that you're okay, this is one particular tree, and this is the second Tree. You can also add it in sections where you leave a little bit of gap between two trees so that you can show that sense of one Tree being in the front and the other one being slightly in the back. And that's why it's not receiving that kind of light. Overall. I'm really liking the way this section is turning out. The light green really made those trees pop out a little bit more. And I feel I can really see the different sheets coming through and the different sections for my trees coming through. I really liked the way this looks. I'm going to let this dry and you don't really have to wait for it to dry because you can directly move on to painting that middle section. So we're going to be working in two parts. One is going to be the slope and the line that you are seeing. That's going to be one particular layer. And the other one that I have is going to be for the flowers. Here. I'm mixing sap green, my brown color with a little bit of blacks. I get this deep green shade. And when to use this deep green shade and applied right below the darker color that you have for the trees. So we're going to now define that slope a little bit. So clearly able to see that difference in the, in the slope and the trees that are there. I'm also loading my brush with a little bit of sap green and just trying to blend it with this layer, I'm going to be transitioning between darker green, lighter green, and just adding a bunch of different shades of green here. Make sure that the greens are the different shades of green that you're making have to be made between the colors that you're already using. I don't want you to pick out a whole different shade of green and add that in. We want that harmony between our colors. And that is why we have to make its different shades of green using, let's say sap green and yellow. So just using sap green, yellow, brown, and black as our four shades of colors. And then you will add a little bit of this and that and make your own green. Now this is also a really FUN color mixing exercise, because when you do this by herself, he can really learn how much green, how much black, how much Brown? How does Brown kind of effect my mix of green? How yellow effects my mix of green? And this is something that you have to do to figure it out, right? No amount of me telling you is going to help you unless you do it yourself. This is something that I learned along the way. That doing it myself was a lot more helpful than just reading and watching. Maker shades of green, don't worry about it. It's not going to look bad. And once you're done, you let it dry. Now the, the, the best part about this is once it dries, it really, I'm kind of mixes and matches with one another and the blend is always a good one. Next, I'm using a little bit of this yellow color to add in some texture over my layer that I have. Not a lot is happening in this middle section. We don't have a lot of leaves or flowers or anything like that. It's just like it has it has grass and that's pretty much it. So to bring out that layer a little bit more and decided to add just a dry brush stroke over the lighter parts so that it has that bit of effect in it. Next, I'm making a mix of sap, green and black. So again, a really dark color. And this is the color that I'm going to use as the background for our flowers. Right? So that slope that we can see, again, the second slope that we sketched out. I just want you to take scholar and add it. Now as we transition down, you will also add a little bit more black into the mix so that the color appears to be darker. And you're creating that nice transition between the different shades of green at the top, instead of leaving that line very straight and uneven and decided to make these vertical strokes That is a bit of texture play happening there. Now as I transition down further, I'm going to add in a bit more black into my paint mix and bring it down and blend it into that is the way in which I'm going to move. I'll bring in the black added all the way at the bottom so that there is a difference in the shades of green. And you'll really see how it comes out. When you, your different stems and your flowers and things like that, it takes a bit of time to develop that layer. Now that this section has dried up, you can leave it to dry or sweet dried using a hairdryer. You're going to move on to the different layers of the stems. Right now, I'm creating a mix of my sap, green and black. We have used that color in the past, so that's I'm not swatching it. Using this color. I will be creating a bunch of these little stems. Now these little stems are going to be little when they're in that slopey area. You can see how the sizes really smart and I'm also playing around with the heights of them for some are taller, some are shorter even though they are in that same range, right? So obviously didn't have to make all of them look identical. These try and avoid that because then that sense of it being a little bit realistic goals, if you try and make all these brushstrokes look identical, I want you to play around with it. I want you to not worry so much about the direction in which you're, in which these stems are going. But rather just let them flow, go left and go right and just mix and match with this. Because it really doesn't have to follow a particular direction. All you have to keep in mind is that these stems are going to be smaller when they are at the top. And as you transition down, you want to slowly increase the size effect. The Colours can remain the same as well. Or if it's not showing them that much, when you reach the darker side, you can add in a little bit of sap green to light in it, but not by a lot. Like can see. Another thing that I'm doing here is I am not making all of these stems follow that same line format. So if you did small ones at the top and the ones below, you're doing slightly bigger than the ones below are doing slightly bigger. Even though they are kind of laid out in that format. One below the other. You want to make sure that let's say the middle section has a lot more of the tall one and the, the one next to it has a little more of the smaller ones. When you do that, again, there is that sense of unevenness. I told you we're one of my class projects that are human eye is very susceptible to farming patterns and identifying these little things. So when you want to work with sections like this, you want to make sure that you are not following a line format or submit Tree and things like that with, especially with Landscape Painting, you don't want to follow submit Tree. A lot. We do have concepts of symmetry and things like that. But when you're painting like a grassland and things like that, you'd want to try and avoid that. Because if you make it all look symmetrical, you can easily find that empty space where you have not added anything or there are these empty spaces where you have not added anything and it looks odd. So make sure that you are covering the entire section properly and also adding a sense of unevenness. You can now clearly see how as I've proceeded downwards, there is a huge difference in the size of my strokes. Now that I've reached the bottom, the strokes are a lot larger or a lot taller. And still they are flowing in both these different directions. They're all over the place. My left summarized some a straight. And one thing that you will notice here is that I am moving from top and releasing it on the top. I went starting from the bottom and releasing it at the top, right. So you can do that. And it can also combine it with the grass strokes that you go from top and release it at the bottom. I think I've taught this in the techniques lessons. If you are feeling a little bit hazy about that, please go ahead and watch that and then come back to this just to refresh on the thing that we learnt. Now the next shade that I've made is going to be slightly lighter, right? So it's the same green with a little bit of white in it, a little bit of yellow in it. And using this color, I will go ahead and add in some strokes. It's going to build on the layer that we already had. This is my third layer that I'm adding. And you can clearly see how my strokes are very free flowing. They are not the same, like no two strokes look the same. I would say. Even though you can tell it's not really happening, I'm not trying to subconsciously make that or consciously make that. It's just happening. These trucks are very free, free-flowing. These strokes, like I said, it's combined with starting from the top and releasing at the bottom. Because some are going to act as the stem for the flowers. So you've got a combination for stems for the flowers with a combination of just grass elements are just these wild leaf elements. You want to combine those brush strokes in that manual. So over here you will have to build on this layer a couple of times. Like this is our third layer. You might want to do two layers more from what I think, ideally that when I generally make this, I work in like five layers. So maybe 23 more. And you will get, You'll be good to go before you go ahead and add any flowers on top. This is what I think looks good for now. We're going to let this completely dry and then we'll move on to the next step, which is also adding the flowers and our final details for the stems 51. Day 15 Part 3 : Oh my Daisy: Alright, so now that all of this has dried up, it's time for us to switch to a round brush. This one is a lot more bland at the top. It's not very pointed. And I think it works perfectly when I want to make these unsymmetrical dots. Using this brush, I'm gonna go ahead and create these little dots to show the flowers that are at a distance. Now, we're going to focus on working in this format. So I'll just tell you what that is. And that is, we're going to go ahead and create these little dots. First. Up until you see in even in the reference picture, up until virus seeing these little, little flowers, we're not seeing a lot of details. Then we'll focus on bringing the lighter colors for the stems and then go ahead and proceed with the Florida. So that's going to be the format that we're going to follow. Right now you can see how I'm making these little dots and I have a lot more control of my brush. You can see how my brush is almost perpendicular to the papers that I get these beautiful, unsymmetrical. So could I would ever even call them circles, just dots. They're just kind of like unsymmetrical and does not have a particular shape of its own. That's exactly how you want them because these flowers are not very visible than not very symmetrical. You're not seeing them in the format that you're supposed to see them. And that is why this floor, this brush works well, because we've got some Flat, some rounded sum over sum with a little bit of specs around it. So this one, I think in my opinion works really well for me. Right now. I'm just gonna go ahead and add in these little dots up until where I'm seeing it. So I'll tell you where to stop exactly. Amino starting at the top. I would say almost one-fourth of this area, like the working space that we have right now, is going to be filled with the smaller sized flowers, right? So you can see how almost stopping there, I would say it is one-fourth of my working space. And these dots are very close to one another. But at the same time, you are able to see kind of like the greenery behind it. So it's not that close to one another as well. Right? So I'm gonna stop right here. And we're going to focus on the greens again, some adding a bit of the yellow paint, the green paint, and a little bit of the white paint together. I'm gonna get this lighter shade of green color. And that's going to be the color that I use for the highlighted spent. So I'm going to go ahead and swatch that out for you. So this is the shade that I'm using. Again, using this color, just add in a few controlled strokes. You can see how some are from bottom, released at the top, and some are coming from top and released at the bottom. Along with just these graphs moving left and right, I've added and sense of unevenness to it to show that maybe there are Leaves and things like that. Just a few little awkward, like Brush Strokes. I would call them awkward because it isn't really following any shape. Most of the time flow painting, landscapes, especially when you're doing leaves and stems and things like that. There isn't any particular direction that you consciously focus on. Any particular brush stroke that you consciously focus on. This is something that really comes to you with practice, comes, comes to you with this kind of understanding the movement of your hand. And after that, whatever brush strokes you make, you make peace whether you're like, Okay, I've got to work with this brush strokes. There's nothing that I'm going to do. And this just comes from within. You just have to kind of like guide your hands and move your hands. Now this obviously comes a lot easier to people, like I said, who practice a lot. I've done a lot of these. But it's not something that you cannot achieve because when you practice, you know what works for you and how you're supposed to get something that you are trying to approach. Let's say this was reference image. They were trying to approach. How are the things that, you know, what are the things that you're gonna do to approach that really just comes to you when you have a bit of practice on hand, right? So all these brush strokes, all of these different shapes, these are just some, some Lake organic shapes that you're really making, not thinking so much about basically that's what I'm trying to say. Anyway. I really liked the way the lighter colors of the stem looks right now. It's time for us to focus on are bigger flowers. So I'm going to be using the same brush, which is my blunt Round brush. And I'm going to create these little strokes from coming from the outside, moving inwards. And you can see how there's this little bit of this blank space that I'm leaving. Now, this blank space is left because that's what I want to add, the yellow part of my Daisy. So you can add as many petals as you want. In whatever direction that you want, you can look at the reference image to get a little bit of inspiration here. That's completely okay. I am not really thinking so much. And I'm just adding these flowers wherever I feel like you're in. However I feel like it. I'm pretty sure that a lot more Leaves and I think I intended to do a lot more petals than I intended to do on my flowers. But hey, we're just having FUN here and we're just learning and getting use to Gouache almost a half of the water Part of my working space. I'm going to create these bigger flowers. You can see how they are bigger as compared to the ones that we did all here, obviously. Then in the middle space that you have, you'll want to create a combination of smaller ones with a combination of the medium ones. So that's how you'll be able to show that beautiful transition between the smaller ones that are in the background and the bigger one that's in the front part of my beginning or the bottom part of my painting. Just go ahead and create as many flowers as you want. There is no limitation here. Obviously, the green space that you're seeing is a lot more in this section. So go ahead and create a wherever you feel like it. Once you're done with this, you are going to let it completely dry. One more thing that I've done here is along with all the bigger flowers, I've added some smaller ones in-between. Two, let say show that these are budding flowers are these are just somewhat hidden in-between the stems and things like that. So again, don't look at the reference image. It will inspire you to really understand the placement of these flowers and where you want to put them. So don't think too much, just go ahead and add these flowers wherever you feel. They should be. I felt like I wanted to add in a little bit of this second coat of white on some of the flowers to show that there are a lot more opaque because white paint, it turns out to dry a little bit lighter and show the color of the previous layer. So you might have to do two coats of vectors really bring out that vibrant white that you're looking for, especially for that Daisy flower. I really like to wait, this looks right now. We're going to let this completely dry. And in the next part, we'll focus on creating the center portion of the flyers and just some extra details for the stem. Now that my section has dried, you can see how beautiful and vibrant it looks right? Now. For the middle part, I'm going to mix my yellow paint with a little bit of the burnt umber color when to use my pointed down brush here because I want a lot more control over my stroke. And I fell like it wasn't showing up as much as I wanted it to. So I went ahead and added a bit of white in it and also decided that I don't want to use the pointy brush, but rather use my blunt Round brush and a bit more white into the paints. So here is a swatch of the color. So whenever embedding, I do go through these moments when I'm deciding when it's this brush going to make me achieve or let me achieve the type of effect that I'm going for is or isn't going to be this one. So there might be changes in the way I think as I go or do things. And as I think I do those things anyway, so I'm just gonna go ahead and add the white and the center of my flowers and all of them. Obviously you'll be adding a lot more detailed ones in the ones that are closer to the observer. Then those little small ones that you have in the medium-sized one, you can just add that in-between somewhere. Wherever you see that, you could add a little bit of that light stroke. You can go ahead and add that in. Now, on top of this darker yellow, I've added a little bit more of the white paint into it to get a lighter yellow shade and I'm adding it on the top. Now we'll be working in two sections. One is going to be the lighter part of the center of all in-person portion of my flyers. And then once you're done with that, you can also add in a bit of the darker part of the Lake Como browner color. Just to show bit of shadow into my paintings. I'll show you how that goes as well. Right now, I've made a mix of brown paint. You can see I'm adding it at the bottom of my pollen Part where these, the yellow part is kind of touching the flowers. You can see how it creates that shadow effect in my flowers. And it can really see like almost 3D effect to it. Obviously you can work on a lot more details here. You can do a lot more things here. I just wanted to keep things simple, right? I don't want to complicate things for you and say Do this and in the data and then do this. I wanted to keep it simple so that even as a beginner, you're able to follow and learn something new. But at the same time, I don't want it to be so simple that you're not feeling challenged enough because I feel like we all love to feel challenge. Do the impossible where you look at it and you're like, wait, I don't think I could do that, but if you follow me along, I'm pretty sure you can do it. Alright, so we've almost reached At the end of our painting, before we go ahead and build the tape off, we're just going to add in some final details. And so I'm going to create a very light green mix, which is a mix of my sap, green, yellow, and white. You can see how this shade of green is really light. And using this color, I will be creating a bunch of stems Under the flowers that we have. I shouldn't look like you're day. These are just floating on this layer, but rather have a stem that they are resting on, right? So go ahead and just create these little lines under your flowers. Along with that, you can also create some more of that grass shapes. Just a bit of those random shapes that I was talking about in between. So that you have a bunch of different strokes that you're working with. It isn't just grass looking shapes, but there is an unevenness and there are some tall ones. You can overlap them as well. So you can get these stems to go over the flowers that you've already have. Obviously pick your favorite flowers and don't let the grass go over your favorite ones. But if this one, if there's some flaws, you don't like that much, you can just get a bit of the stems to go over. Next, I'm just using another brush to tap on and create a part of lactose in that era. Just, just let it looks a little bit whimsical and it looks all pretty. And mice with those little splatters, I really liked the way this looks right now. We're gonna go ahead and just add in a few more details for the stems. In the reference image, I could see like there's just one part of the stem which is really tall. And I felt it looked so beautiful. I wanted to add that as well as I created that really long stem that I could see. You really don't have to do this if you like the way of painting looks. You can just let it be as is. You don't have to follow me along for this part because I'm just adding any final details wherever I feel like it. Just a few little tweaks here in there. But overall, the painting is pretty much done. I really like the way this log-space, that soft light in the painting, which is not coming from a bright, sunny day, but a cloudy one. I really liked the way this looks. And once it dries, we're going to feel the tip of a way from the paper. I'm going to miss same that you care for while peeling your tape, makeshift, leaning it away from the paper. This is the last time I'm going to say that to you in this class. But look at that, look at those Beautiful, beautiful edges that we have to our Painting. Before we go ahead and have a closer look at it, let's sign our paintings for the last and final time. For the last and final class project of this challenge. I hope you enjoyed painting. Does Art worked with me? Let's have a closer look. I really liked the way this one looks. Like I was saying that soft glow that is not from a bright sunny day, but rather a cloudy one. Those different view, two shades of green, but still you're able to see those different shades of green. Beautiful Daisy is, everything about this painting is my favorite. I hope you enjoyed painting this one. In the next lesson, I'll give you my final thoughts. 52. See you soon!: I can't believe that we've just wrapped up our 15 Days Gouache Challenge. One thing that I really hope is that you enjoyed painting along with me. We've painted beautiful, beautiful landscapes in this class and that to 15 of them. And each project was unique from one another. We learned how to create different mixes of shades using a limited color palette. So we didn't use a lot of different shades, but rather we mixed a lot of different shades for our paintings. I really hope you liked this one. If you did, don't forget to leave a review down for me Under this class. And if you've painted along with me, Do upload it under the project and resources section. If you'd like to post your artworks on Instagram, don't forget to tag me thesimplyaesthetic because I love seeing your artworks on there and I love sharing that with my followers there as well. This is pretty much it from me in this class. I will see you soon in the next one.