Catching sunshine with Watercolor

1. Intro: Sunshine is like the most precious gold to be found on Earth. No matter what the weather is, everybody enjoys the warmth of the soft sun during sunrise and sunset. Hello everyone. My name is bunch of me. I'm a watercolor artist instructor and the mom. Welcome to this class where we learn to capture the warmth and glue of the sun and put it in your painting. The class is in real time, and I will explain the process step-by-step throughout the class. I'll explain the colors and concept you can use, not just for these projects, but also in your future projects. There are three projects with three different plots and each project takes less than 40 minutes to paint. These are very simple projects that a beginner and intermediate artists can enjoy painting. These painting projects are just the Buffett paintings to add on your wall to be enjoyed all seasons throughout the year. So let's get started with the class. 2. Material and color mixes: Here are the materials that you'll need for the class. The gallows that I'll be using, our lemon yellow and permanent yellow, deep and permanent orange. Permanent yellow and dominant orange can also be created by mixing lemon yellow and vermilion indifferently shoes. For brown, I'm using Magento dark brown. Seeing this brown with some integral domain, this brown darker. And to get light brown and you make some brown and yellow. This way with just any shade of brown that you have, you can get different saturations of brown or using your painting to get beach Gallo, highly mixed up wrapping and some permanent yellow. By mixing these two colors indifferently issue, I can get multiple range of beach color. So you can dry out, really show that your lake and decide on the beach color that you won't do use for the painting. 3. Concept explained: The main concept we have to keep in mind this. Wherever the glue of the suddenness, the leaf and the stem will be extremely light, will be very low in saturation, so color will be either light yellow or light orange. And as we move outside the glue, that is towards the end of the painting, the color gets darker. So you can see near the sun, it is yellow or orange light color. Then it becomes brown. And then as we move outward, it gets darker and darker. And the bark outside the glue, that is this part and overhead and overhead bottom here, it's completely dark. Same concept to be followed for this painting. For the inner yellow-blue, the trunk, and even these small tweaks will be light in color that does yellow. As we move towards this orange circle, the gala will be light brown, even these molecules as well. And as we move outwards, the color gets darker. That dense dark brown. Esight trees will also be dark in color as they're outside the group. 4. Peeking sunshine background: Let's begin with the first layer of background. Wet the paper totally so that it stays wet for a longer and gives you ample time to build a very nice first layer. You can see that I have applied water on my paper horizontally. And then Woodward could brush strokes to make sure that every inch of paper is so fluid water and it's completely red. Now, delta paper, so that excess off water comes down to the bottom of the paper. And then you can write that x is b. And then you can write that excess water with red blood or tissue. Keep the paper deleted for a minute or blue, blue remove all the excess water and that and so that the paper is uniformly wet and there is no blobs of water on your paper. Let's begin to paint. I would recommend to watch this section first and then paint along. This is where I want the sun to be. I won't draw it in pencil as it will leave a mark and will be seen in the building. Adding a little bit of permanent yellow, lemon yellow. Or you can also add a little bit of orange to lemon yellow to get this mix. Being the circle for the sun, a bit bigger than the size you want it to be. And this is because the pigments will move in and make the sun smaller. Eventually. I won't be adding colored in blue the Sun, but I leave it empty. So you can see here that I'm painting around the sun and adding color around the sun. Painted remaining portion on the top. Same color with vertical brushstrokes. With dry brush, I'll try to remove some pigments and make the sun rounded and close to the size I want it to be. Now you have to keep in mind that my paper is still wet and we have to do all this before the paper dries. Next, I'll add some orange to the mix and paint the portion below. With burnt sienna. I bend the lower portion of the painting. Now this R Brown is already a little bit of oranges, so I'm not mixing any other color, do it. But if you have a brand reaches very dark, then you can add some orange to it to make it a little bit of orange brown. So that compliments this composition. Also painting some cloudy shapes on top portion. Make sure that you do not bring too much of this because you want a lot of light, lemon yellow that would have been dead first on God. So make sure that around the sun the areas still yellow, but they're being done. These cloud-like structures along the Sun towards the right, can see here that the white portion of my son has become yellowish again, the pigments have already gone in again. So what they do here is Decker Drake lot with my finger dip and base on the sign, but remove excess water and get us a glitter buy cheap. Making the clouds around the sun a little darker. Now, I add some more brown to this mix to get a brownish, orange, more brown, and add some dark clouds. I would advise you to use smaller brush to bring these clouds so they didn't control the shape of the clouds better and not go bring them too close to the sun as you want to retain that yellowish glow around the sun. The sun is depicted with white to show the brightness. And when you paint around this white portion or the width along this later portion with some dark colors. It'll bring up the shine of that, right? With some dark down, I add a layer of bloody background at the bottom. Make sure that the first-order orangeish layer that we painted earlier, it seemed a little, basically this is a second layer of the background. So first one is the orange one, which we did earlier, and this is the second one. Similarly, let's paint another layer of background. The third layer of 40 steel blurry background. So for this I have added integral to the ground, may lose bone for the more dark and will be applying it at the bottom of the people. Now let's wait for the paper to dry before we continue with the painting. So you see here, I have maintained a prominent portion of these yellow portions of sky between the clouds. These late sheets are necessary to bring all the shine when you paint around it with darker shade. Also make sure that there is good amount of area around the sun, inlaid yellow. You actually paint the clouds anyway you want, they will always get covered with the leaves, which will paint Leto mother. It is important to maintain these lay the ALU spaces. 5. Peeking sunshine detailing: This section is pretty simple and isn't easy-peasy. Now that my paper has completely drained. First I draw some stems to paint. I did not draw them earlier because I wanted to be free from following the sketch strictly and paint the background carefree and not be constructed with where my son has to be orbit the exact shape of the sun. This way, I don't have to worry if my son has shifted a little bit or has become a bit bigger or smaller. Again, always draw later on these branches According to my background. So what you can do is you can draw random steps, just follow the reference. But Joan, or the final picture of this painting, which I have uploaded. But make sure that no stem is drawn on the sun, just a tiny little stem which will be painted very leaky later on. You have to keep one thing in mind that the area or light yellow circle around the sun, is to be painted with very light color. And as we move away from the sun, the color gets darker on the stem. So any branch or leaf falling on the sun is shining and hence is not visible. And as we move away from the sun, the color transitions from light orange, too late Brown, goo, ductile. You may use any brush of your choice, which gives you a thin line to paint the branches and leaves. I'll be using say 0 and rigger brush. I will start painting from dark color first, that does it the borders of the building then moves towards the light patterns, in words near the sun. I will start from dark color first and then move towards the light. So I'll be painting the corners of the paper first and then move towards the sun with light colors. Mixing ground with indigo to get close to black color, which is dark brown color. The branches of the right side of the paper will be dark as the sun is on the left. And as we move away from the Sun towards the right, the colors of the branch will go darker. You can see that I'm not painting with this dark brown color on that lady loop portion around the Sun that we have maintained. Similarly, painter doc branches below the sun, which is far away from that circularity and low portion of Lady Lucan with the same dark color, I'll add some leaves by dabbing some random brush strokes in different directions. Make sure that you're moving your brush in different directions. So all the leaves do not seem to be in the same direction. The leaves at the tip of the branch will be Tinea also need not ideal to a particular style of painting. These leaves have fun with them and make random dabs of foliage. You can also add definitely leaf shapes if you like. You can see that sometimes I'm making my brush strokes from the outside and sometimes it's from the left side. So this, we have this kind of motion and different kind of brush movements so that it seems that the leaves are in different directions and they are not just pointing towards one side. Now, all you have to do is add lot of leaves. Next, I'll make some permanent yellow and orange to get an orangeish yellow. With this, I'll extend the stems further. But they won't be the portion Berlin to the sun because that has to be really late. So I will clean my brush, take some water, and connect them, dragging the paint to make a very late portion of the stem near the sun. The most paint anything on top of the sun. And not painting any stem or leaf on top of the sun because of the brightness of the Sun, these portions are barely seen in reality. So they're just not going to paint. And we're going to depict the shine that this approach. Similarly, paying the rest of the steps along with me. Cleaning my brush, taking a little bit of water and the tip of my brush and connecting these two branches with the light wash. Let's paint mixed layer of leaves with the brown. We will apply similar approach for colors while painting leaves. That is, as we go towards the sun, paint the leaves with brown first. You can see that I'm adding a little bit of orange and a little bit of yellow to my brown so that they can get a good color harmony with the brown so that it doesn't look odd or out of the place. And it kind of blends with the orange color in the background. And then leaves closer to the sun. In a circular area around the glow of the sun will be very light yellowish orange wash. I take booty drops of water and I add this orangeish mix, do it and make a very late and watery consistency of the scholar. And I will paint due to three leaves just on top of the circle of that sun. Now this leaf has to be very, very, very light. You can also skip if you're not confident, but if you're painting, then it has to be the early, late are the latest of the leaf that you have been did so forth. Adding some more brown than their variable, the gullet is transitioning so that we can depict a very smooth transition of color. Jane can be brought out only by painting the area around the light colors with dark color. This way, the late color will be enhanced to give an illusion of shine, which is why I make the corners of this painting dog with some mixture of indigo and brown to get the really dark brown, adding some more dark leaves on top. And then even in the background in the bottom, I'll make it darker with this color. Extending something branches here in the bottom to add little bit of more character to it. Let's now with clean water. I read only the bottom portion of the painting so that I can add some more dark cleared background just at the bottom. So I use this dark mix of brown and indigo to add another layer of background here at the bottom. So you can see how adding this really dark mix or this dark colored background at the bottom is enhancing the sunshine even more. With this, we are done with the painting. Now here comes the most satisfactory and the fund step of the whole process. So I hope you guys have enjoyed the class and see you in the next section. 6. Pink sunset Sketch: So for this project, all we need is a horizon. If the middle section is here then and rather, what isn't some bigger, maybe not a straight line, just some wonky horizon. The back of our ground for leisure for somebody that behind. And we'll have some somewhere around here. We show the shadow of rich, even draw a tree here, making it brandy over hill. And then some branches here on top. Base in the foreground. Just to add and add another tree somewhere. Starting some random branches for which we will be drawing small tweaks, kind of branches later on. This very random and wonky branches. Or you don't have to be too rigid about making it look exactly the way I'm drawing it. So you can just feel free and draw them however you like it. Adding a smaller tree here. This is going to be a tiny one and I'm going to make it wonky and bendy and add a lot of static. Dare do it. I want the sun behind this tree. 7. Pink sunset backgound: I'm going to wet the paper first, removing the excess water now from the paper. I will keep this idea by two between the sun and then fill colors around it like we did earlier. Taking a very late mix of yellow, I'll be painting on top of the tree itself and see how big of a circle I am bending due to the sun. Because eventually this will become smaller as the pigments moved. Now I'll add some orange to this mix. Now start painting with this orange overlapping the yellow boundary. Now adding some are burping, do this mixture to get the golden Rosie orange. Adding some more thing to this mix as I wanted the mix to be more pink than orange. Yes, and this is a guy that I wanted. So with this band, good SD of the sky. And as we move towards the bottom, I'm just pulling the paint from the dog and not loading my brush because I want a very late leave it as it goes down. Now I'm just going to blend it on the circle so that the orange and the speech colored has a good transition. I'm smoothening the layer here so that the circle is not seen too obvious. Placing the, it is it underneath the top here so that Bergman's can move downwards. Adding some more opera pink to the mix. And I'll just add one more layer right here on the top so that the dark portion is dark. Now I'm going to take a clean brush and remove that excess yellow that has gone into the cycle of the sun. Now I'm going to take some clean water and whatever bin that has gone below this line, I'm just going to blend it and drag it to the bottom of the paper. If you don't have any excess paint here, you can take a very thin layer of this mix and apply. Key is this area is small, so it has to be as late as possible. Now add a few drops of water to the Score Model mix and make a very watery consistency of paint. Since the Sun is here, the shadow for this firm will be almost battling to the tree. And with this late consistency of paint where glowing blue being the first layer of shadow, just with the single brushstrokes. Also add some dynein batches of shadow on the snow, which are constrained by the irregular shape or irregular dumps of the snow. Mixing some indigo and brown to get a dark brown mix, and then switching to a smaller brush. Now start adding these irregular boundaries. Now make sure that you're not adding some grass kind of effect where you see M bullying few strokes on top. And I'm just not been doing straight lines. So near the base of the Xi's am adding some more grass lake effect because I had totally wet. My paper might be, but it's still rated this point, which is why I'm getting very nice blooms. But it is important to switch to a smaller brush because if you're building these boundaries with the good brush, the blooms will be really big. Now with the same brown, I'm going to be the distant background. As we come close to this yellow halo of the sun, we're going to stop here and switch colors. Now for this l, take some orange and mix it with the brown. Now with this mix, a bender for us transition of coloring the foliage background. Next with just some year looping, I paint the rest of the portion. Teeny tiny drops of brown on the top. If he led the dark, lonely, it has become a bit late, so I'm painting on top of it again to make it darker. I'm just going to make this boredom but a little bit dark by just dragging the pain from the site. Just kind of, you know, to have a boundary. Now with a clean dry brush, remove the excess paint that has come down or just smoothen the edges here. Wait for this layer to dry. 8. Pink sunset painting trees: Might be, but as completely drive, this is the Ada, but I wanted to retain the white for some but they couldn't but never mind since feel having clear on top of it. It's okay. But if you can manage to have that right by greeting, then it's valid and good. If not, we'll adjust with it. Taking a very watery and light mix of yellow, you can see it's almost negligible. And adding this yellow just at the center of the tree trunk, where the tree is overlapping the sun. Now take some orange and lightly paint at the borders of the tree. With this orange painter top and bottom portion of the yellow boundary. While take some yellow and blend this way. This way the middle portion is late yellow with orange bordered on orange corners. Next, take some brown and start building up the color transitions from yellow to orange to Brown. Do dark brown, dark brown, adding the next color transition. Next, I'll take some indigo and brown mix, which is a very dark brown color and added at the bottom. Now just blend these color transition. Now that I have got the ClO blue here in the center, very carefully, add some brown just at the middle portion here, just like this. Use it in a brush if you prefer, but made sure that yellow is maintained on either sides of this brown that you have added. That does on the coordinates of the tree trunk. Painting the bottom of the tree. Clean your brush and take somewhat that at the tip of the brush. Blender, bottom of the tree to the snow, darkening the brown on the top. All the branches that comes within this yellow halo has to be painted with light brown or yellow. And as we move outside this hello, we'll make it dark. So painting this branch with the yellowish brown at the bottom and darkening it as we move to the top. Switching to a finer brush. Since this branch is in the middle of the glue, I'll paint this branch with yellow first. Now with some brown, I will dock and only the bottom of this branch because the top part will be glowing as it is exposed to sun, and the bottom part will be dark due to shadow. Now with some brown, I'll darken the section where the branch joins the tree. Similarly, paint this branch with yellow or light yellowish brown first. I will also paint the doped week with this light color. Now darken the bottom of this branch with dark brown and paint. The rest of the branch. Now darken the joint where this branch connects to the tree. This branch is outside, they look blue, so I'll be painting this width, but on itself. The bottom-most branches I'll paint with.com with orange or very light brown. You can bend this top branch. This is because this falls within the orangeish bark of the glue that we have painted hand Spain this width, complementing orange Autolite gum. So the base of my first tree is ready. We'll add more branches later on. We'll paint the right side of the tree which is facing the sun with yellow. The secondary will be comparatively easy. Then we'll take some brown and add it to the left side of the tree. Make sure that this yellow and brown comes in contact so that they blend among them sets paint the tree with dark brown as it moved towards the bottom. Now I'll darken the top edges of the tree since the first layer of paint on the tree is still wet, the colors are blending by themselves. If they are not blending for you, what you can do is acre dry brush. And blend the colors where they meet each other. Blending the shades here at the bottom with the dark brown and darkening the left side of this branch again as it looks a little light. Also dabbing this dark brown at the point of the junction where these two branches are starting to add some depth. Now let's paint the branches. Waterloo here is the writer of the branches are facing the Sun, which is why all the right branches I paint with either light brown or orange. But the left side of the tree, which is facing away from the Sun, I'll bring them with the dark brown mix. Also the bottom branches with the dark brown mix. Now, I have not sketched on the branches, but with these random brush flicks, I will add some wonky and bendy branches all over the tree. This branch, which is close to the blue, I'll paint with light brown. The left branch, painting it up. Now painting these Tiny Tim trees just with the dark brown color. Now with rigger brush, I'll add some tiny branches in all possible directions. And I'm not going to make them on the street and just make them wonky and bendy in all different directions. So you can just blended in imagination and add as many branches as you like. If you don't have rigorous, then you can use any thin brush that really give you a nice ten branches. So I'm inverting and adding some more so that it can give me different flow and different kind of motion or movement with the branch. We'll be using the same logic, even do pain these tiny branches, all the branches at the bottom of the tree or on the left side of the tree will be dark in color. So make sure that if the branches light brown or blue, these tiny branches that also light brown and yellow. If the main branches dark brown, then those tiny branches also will be that bad. So basically whatever comes within the yellow block has to be a light or as me more fat from the glue that DICOM data. Now let's add some grass. I will be adding some lung bendy grass like shapes in all direction. And I'm using a bigger brush if you don't have really good pleasure, can use thin brush for this as well. So when we painted the background, had been dead, these dark brown blobs. So I'll paint the grass on top of these brown blobs that we had painted earlier. Add some grass at the base of the tree. Switching to my size 0, brush with some dark brown, I'll paint a rough lines on the boundary of the ground that is where the first layer of snow is. And then with a clean brush, I'll take some water at the tip of the brush and we'll blend the edges. These lines need not be continuous. This is just to add demarcation of layers of snow. So your campaign broken Audra flames. Making this grass in the coordinate a bit more bushy. Now to paint the shadow, I'm mixing some indigo and brown to get a grayish stone. Making this makes watery and flowy. For this tree since the sun is right behind it, the shadow is going to fall straight like that. Adjusting the shape of the shadow to mimic the root of the tree. Adding some more water to this mix, it seems that it's a little too dark. Shadow for this tree will be a little slant like this. As we move towards the left of the Sun, the shadows will also start leaning towards the left. As I said earlier, the shadow has come out a bit DAC. So what I'll do is with the dry brush, I'm going to remove some of the paint. This is just a collective step. If you've got the shared right, you need not do it. Adding some more grass drinks. We're almost done here. Now the next step is adding some snow. I'm using a tick based off white watercolor. You can also use gouache, but make sure that it does vary tick and not too watery so that when it dries, it remains very opaque. Flattering some snow with a thin brush as of deselect the brush increase, the droplets that you add. Splattering will also increase in size. So if you use multiple hash, it'll give you small drops. It was bigger brush it'll give you bigger drops. Adding some highlights to show that that is some snow on the bush. You can just paint some rough broken lines with white. With this, we are done with the painting. 9. Pink sunset final detailing: I feel that the left side of the stream needs darkening, ignored the step. If shadow on your tree is satisfactory to you with clean water, I'll just make this area weight first. And then with a thin brush, I will take this dark brown mix and only darken the left side of the tree. You can also add some Dropbox knows that they are posca pen, Jelly Roll pen, adding few grass breaks with white. Now I'm going to add some more delayed branches on my trees. So the best part is done. The painting is actually complete. So this is where you can have some fun with these branches and you can just paint some wonky and GAVI branches and add some more character to it. So this is a completely optional step. You can do it if you want to or you can just stop with that here. Well done, you've completed your project. 10. Moody sunset sketch and first layer background: Let's make a simple sketch. Feel free to sketch any other Biden of electric power. You can apply the same concept on that as well. The final sketch will be uploaded in the resource section for your reference. Don't stress too much on the accuracy of the sketches. You can use scale if you wish to. But I'm just drawing the loose sketch. Okay. Hi. Begin to paint thoroughly wet the paper. Now, the paper so that the excess water can move towards the bottom of the paper. And you can clean that excess water from the bottom. After removing all the excess water might be bird is evenly. We can begin to paint now. Let permanent yellow. I'll begin to paint the glue of the sun first. In the right circular area, right near the dowel to depict the sun that's bear the shame will be the most. Adding some more orange to the mix. I'm increasing the saturation of this yellow color. And you can do the same if you feel that the saturation is a bit late, so you can adjust the paint accordingly. Next, I'll add some pink to the sky with canagliflozin magenta. You can also use alternatively opera pink or any other shade of pink that you have. So you can see in the middle section, I'll be filling up the spaces between the yellow. I paint the road in the front with some yellow itself so that we can get some kind of glue ear texture on it. Adding some dark highlights of my agenda right under the yellow glue, just so that the yellow looks even more popped out. I will darken the top part of the sky with royal blue. Alternatively, you can use indigo or any other shade of blue that you have laid, Prussian blue or cobalt blue. Note that my paper is still wet, which is why I'm able to get a very good blend here. At any point, if you feel that a bird has half grade or some part of the paper is great. Just stop made for your paper to completely dry and then read it again and apply the paint. Now with the dark blue mix, that is by adding some indigo to my royal blue, I'll add some foliage at the sides of the road. Lightly adding some blue highlights for the road only in the gardener. Make sure that you leave that yellow portion on gulp down the road meets the foliage. Now I'll do the paper for a minute and allow the pigments do move. If the paper is still wet. With a dry cloth or tissue, dab with your fingertip on the paper, do remove some paint and get a right circular shape. You might not get an exact circle, but you'll get a circular area which is very late and almost right. So this kind of depicts the sun. Let's wait for this layer to dry. 11. Moody sunset second layer background: Now my first layer has completely dried and with clean water, I just re-read the paper. Make sure when you're directing the paper, you do not press too hard on the paper. Because if you do that, then some of the pigments might come off with the brush. So make sure that you apply this water ready gently and lightly on the paper. Mixing some dark blue color. I'm using royal blue and a little bit of indigo here to get a dark color like this. Now with this dark blue IBinder Dao portion of the sky, it's important to make the section that, that doesn't only a little portion of the sky dark because this way we can make the yellow portion or this light colored portion blue globe. I'm tilting my paper a little so that the big man scan move downwards and get a very loose, cloudy kind of effect. Now that we have made the top portion of the sky dark with the similar approach will darken the blue section of the foliage at the bottom as well. I'm using mostly indigo here to paint the second layer of the foliage next to the road. This also builds depth in our scene. Now I'll clean my brush and start working with yellow to paint the foliage, which is glowing because of the sunlight. Good, I'm only painting with the tip of the brush. So you can switch to a smaller brush if needed. Just smoothing the edges here. If you feel like it, you can also add some clouds with this dark blue color. But I think I like the way it has already turned out, so I'm not going to add anything else. Clean your brush with water and tissue or your rag doll. Now, I'll remove some beam from here to form cloud shapes. My brushstrokes here are some word Lakers, length, Smiley face. Let's wait for this layer to dry completely and move to the next section. 12. Moody sunset detailing: Might be, but as completely drive, this is the Ada, but I wanted to retain the white for some but they couldn't but never mind since feel having clear on top of it. It's okay. But if you can manage to have that right by greeting, then it's valid and good. If not, we'll adjust with it. Taking a very watery and light mix of yellow, you can see it's almost negligible. And adding this yellow just at the center of the tree trunk, where the tree is overlapping the sun. Now take some orange and lightly paint at the borders of the tree. With this orange painter top and bottom portion of the yellow boundary. While take some yellow and blend this way. This way the middle portion is late yellow with orange bordered on orange corners. Next, take some brown and start building up the color transitions from yellow to orange to Brown. Do dark brown, dark brown, adding the next color transition. Next, I'll take some indigo and brown mix, which is a very dark brown color and added at the bottom. Now just blend these color transition. Now that I have got the ClO blue here in the center, very carefully, add some brown just at the middle portion here, just like this. Use it in a brush if you prefer, but made sure that yellow is maintained on either sides of this brown that you have added. That does on the coordinates of the tree trunk. Painting the bottom of the tree. Clean your brush and take somewhat that at the tip of the brush. Blender, bottom of the tree to the snow, darkening the brown on the top. All the branches that comes within this yellow halo has to be painted with light brown or yellow. And as we move outside this hello, we'll make it dark. So painting this branch with the yellowish brown at the bottom and darkening it as we move to the top. Switching to a finer brush. Since this branch is in the middle of the glue, I'll paint this branch with yellow first. Now with some brown, I will dock and only the bottom of this branch because the top part will be glowing as it is exposed to sun, and the bottom part will be dark due to shadow. Now with some brown, I'll darken the section where the branch joins the tree. Similarly, paint this branch with yellow or light yellowish brown first. I will also paint the doped week with this light color. Now darken the bottom of this branch with dark brown and paint. The rest of the branch. Now darken the joint where this branch connects to the tree. This branch is outside, they look blue, so I'll be painting this width, but on itself. The bottom-most branches I'll paint with.com with orange or very light brown. You can bend this top branch. This is because this falls within the orangeish bark of the glue that we have painted hand Spain this width, complementing orange Autolite gum. So the base of my first tree is ready. We'll add more branches later on. We'll paint the right side of the tree which is facing the sun with yellow. The secondary will be comparatively easy. Then we'll take some brown and add it to the left side of the tree. Make sure that this yellow and brown comes in contact so that they blend among them sets paint the tree with dark brown as it moved towards the bottom. Now I'll darken the top edges of the tree since the first layer of paint on the tree is still wet, the colors are blending by themselves. If they are not blending for you, what you can do is acre dry brush. And blend the colors where they meet each other. Blending the shades here at the bottom with the dark brown and darkening the left side of this branch again as it looks a little light. Also dabbing this dark brown at the point of the junction where these two branches are starting to add some depth. Now let's paint the branches. Waterloo here is the writer of the branches are facing the Sun, which is why all the right branches I paint with either light brown or orange. But the left side of the tree, which is facing away from the Sun, I'll bring them with the dark brown mix. Also the bottom branches with the dark brown mix. Now, I have not sketched on the branches, but with these random brush flicks, I will add some wonky and bendy branches all over the tree. This branch, which is close to the blue, I'll paint with light brown. The left branch, painting it up. Now painting these Tiny Tim trees just with the dark brown color. Now with rigger brush, I'll add some tiny branches in all possible directions. And I'm not going to make them on the street and just make them wonky and bendy in all different directions. So you can just blended in imagination and add as many branches as you like. If you don't have rigorous, then you can use any thin brush that really give you a nice ten branches. So I'm inverting and adding some more so that it can give me different flow and different kind of motion or movement with the branch. We'll be using the same logic, even do pain these tiny branches, all the branches at the bottom of the tree or on the left side of the tree will be dark in color. So make sure that if the branches light brown or blue, these tiny branches that also light brown and yellow. If the main branches dark brown, then those tiny branches also will be that bad. So basically whatever comes within the yellow block has to be a light or as me more fat from the glue that DICOM data. Now let's add some grass. I will be adding some lung bendy grass like shapes in all direction. And I'm using a bigger brush if you don't have really good pleasure, can use thin brush for this as well. So when we painted the background, had been dead, these dark brown blobs. So I'll paint the grass on top of these brown blobs that we had painted earlier. Add some grass at the base of the tree. Switching to my size 0, brush with some dark brown, I'll paint a rough lines on the boundary of the ground that is where the first layer of snow is. And then with a clean brush, I'll take some water at the tip of the brush and we'll blend the edges. These lines need not be continuous. This is just to add demarcation of layers of snow. So your campaign broken Audra flames. Making this grass in the coordinate a bit more bushy. Now to paint the shadow, I'm mixing some indigo and brown to get a grayish stone. Making this makes watery and flowy. For this tree since the sun is right behind it, the shadow is going to fall straight like that. Adjusting the shape of the shadow to mimic the root of the tree. Adding some more water to this mix, it seems that it's a little too dark. Shadow for this tree will be a little slant like this. As we move towards the left of the Sun, the shadows will also start leaning towards the left. As I said earlier, the shadow has come out a bit DAC. So what I'll do is with the dry brush, I'm going to remove some of the paint. This is just a collective step. If you've got the shared right, you need not do it. Adding some more grass drinks. We're almost done here. Now the next step is adding some snow. I'm using a tick based off white watercolor. You can also use gouache, but make sure that it does vary tick and not too watery so that when it dries, it remains very opaque. Flattering some snow with a thin brush as of deselect the brush increase, the droplets that you add. Splattering will also increase in size. So if you use multiple hash, it'll give you small drops. It was bigger brush it'll give you bigger drops. Adding some highlights to show that that is some snow on the bush. You can just paint some rough broken lines with white. With this, we are done with the painting. 13. Conclusion: I hope you guys have enjoyed the class. I'll be looking forward to see your glowing sun shines in the project section. Feel free to start any discussion. If you have any doubts. You can check out my other Skillshare classes if you are new here. Blue lever review and comment, which will help me a lot to grow and improve for the next class. You can also reach out to me over Instagram, brush being done everything and check out my other works there. Until next time, take care and goodbye.