Gouache Illustrations : Painting green landscapes in gouache | Vinita | Skillshare

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Gouache Illustrations : Painting green landscapes in gouache

teacher avatar Vinita, That Crazy Doodler

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

10 Lessons (1h 13m)
    • 1. About this class

    • 2. Materials needed

    • 3. Gouache techniques

    • 4. Mixing greens

    • 5. Layering

    • 6. Project 1 : Green Trail - Part 1

    • 7. Project 1 : Green Trail - Part 2

    • 8. Project 2 : Floral Pathway - Part 1

    • 9. Project 2 : Floral Pathway - Part 2

    • 10. Thank you! and beyond

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About This Class

Its time to go GREEN! 

Hello hello! 

Thank you for joining me for this fun class on painting green landscapes in gouache. I have always enjoyed painting gardens and meadows in gouache and in this class we explore some beautiful green trails together. 

This is a beginner friendly class so even if you are just starting out with gouache, you are welcome to join in! You can also try this out with poster colors. And you dont need a very extensive pallette either!

We will be mixing all our greens using just the primary colors and black and white! We cover all the basics about layering and blending before moving on to creating two gorgeous projects!

All you need to get started with this class -

  • Gouache/Poster colors
  • Watercolor brushes
  • Watercolor paper(smooth)

Lets explore some fun landscapes together!


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That Crazy Doodler


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1. About this class: Hi everyone. I'm, I'm an artist and educator from India. And I welcome you to this class where we pin two beautiful landscapes in gouache. Now this is a big enough friendly class. So even if you are new to this medium, you're welcome to join in on the B6 required to get started with gouache. And then we also makes our own greens. So you don't need a lot of colors. To join in this class. We just need the basic primaries. And we will be mixing all these colleges greens together will be working step-by-step and covering all the basic techniques, including how watercolors are different from the gouache and on the B6 about layering, etc. Before moving on to painting, to gorgeous projects, even if you do not have gouache, you can also join in with bolster colors that works just fine. These are two projects, and I hope you're going to join me on this fun adventure and being these together with me. So let's get started. 2. Materials needed: I'll start with the materials for this class. Starting with the paper, I'm using the Rs and 300 GSM, a 100% cotton hot press people. Now hot press paper is much smoother than your regular cold press paper, and definitely much, much smoother than that green paper. And it's something I prefer for gouache because for gouache you don't really need a lot of texture. I prefer the paper to be smoother, so I've either go for a hot press or even a mixed media paper. Also, the GSM doesn't really matter because you won't be using as much water with quash as we do in watercolors. Something The Lord GSM works just fine. Need not be 300 GSM, but over something with not too much to, not to miss texture. And the size of the paper is totally your call. I'm going to use this particular size, just cut it into smaller pieces for the projects. But that's that's about the papers coming to brushes. I'm mainly using a couple of round brushes and apply pressure for background. The size will totally depend on size of paper you're using. But I do recommend using synthetic hair brush over a natural hair brush because naturally have ones that we use for watercolors do tend to retain a lot of water. And that's not something you want for gouache. So I just recommend going for something synthetic. And you can use one round brush for all the major areas and then a smaller one for all the little details that will do. But again, besides will totally depend on the size of paper that you're using for your projects. But you don't need a lot of brushes for this class as well. You'll need a palette for mixing your colors and creating all those gorgeous green. So I tend to use Gorge this way, like I use it directly from the tube onto a palette and then later clad mix it on the palate itself and then just let it dry like this. And if I wanted to use it, I just use spritz bottle and spray it on top and it gets quite easy. Unlike watercolors, I don't prefer storing wash and pans, etc. because it kind of cracks and creates a lot of meds. Laying it flat really helps. So that's why I use it like this. And then coming into the colors, I'm just using this primary set by M Graham. Now, like I've mentioned earlier in the intro video, we won't be needing a lot of colors, just need the primaries. Yellow, blue, mainly for all the recording screen set we're going to create. And then we add a hint of white and black and sometimes a red to create different shades of green. But that's about it. You just need a good yellow. I'm usually as yellow and cobalt blue here. But you can use any yellow, nice vibrant yellow that you have in your set. A good blue to mix all the greens. And I'll be sharing who quit recipes to create all the gotchas screens. In February section, we'll be mixing all the colors together. That's about it. That's all the materials that we'll need for this class. And don't worry if you're not using the artists Greek or even post the colors work just fine. Just need the primary colors and we're good to go. 3. Gouache techniques: In this section, I'm going to share some quick tips and tricks about getting started with gouache. And also some differences between watercolor and gouache. Because I guess when you're starting out with a water-based squash stats, the first thing that comes to your mind, like how is it different from watercolors? It's the basic difference lies in the pigment itself and how it's composed. But when you use watercolors, you'll be using it like this with a lot more water. Whereas squash we use it at a much thicker consistency. So the difference here is visible right here, right in watercolors, you go for the counts, loosen, transferrin kind of effect, and indirectly aiming at a much more opaque finish. You can use what we squash in a similar manner. You can add water and use it like watercolors as well. But the whole point of using washes to get that matte opaque. Second thing is blending. So when I mix watercolors had the consistency that we use. Usually, you can just add two colors like this and they blend into each other very easily, depending upon which pigment bleeds into the other big Ben. But you'll see that watercolor blends very easily, so it's quite friendly in that way. But when it comes to gouache and when we use it at the consistency that it is supposed to be used at, which is much thicker than the watercolor consistency. You'll see that the blending doesn't happen as easily. If I laid on a color here at the same consistency right next to the blue that I did. It won't blend on its own. So if you have to blend the watercolor gouache, you'll have to do it on your own. Like give it a little bit of push. Use a clean brush to blend it or use a color like white, blended together so that path is slightly different when it comes to worst in the sense that it doesn't blend. You have to blend it, you have to give it a little push to be friendly. That's about the blending. Another thing is when it comes to watercolors, if you have to have some lightly it yes. You either leave them or paint around them. For example, if there are source of light. So you'll have to paint around this to retain that wider, to retain that glue. That's one primary difference when it comes to gouache. You don't really have to worry about that. You can go from any color to other colors like light to dark act like. Because gouache dries with a much opaque finish. You can also paint it on colored paper like black in this case, you don't really have to worry about which color you're starting with. How to fix your mistakes and writing watercolors. That is one of the best things about growth. It's a very forgiving kind of medium. If you want to paint white, you can very well go ahead and paint a darker layer and then paint white on top of it. It works just fine. But when it comes to watercolors, if you were doing it, doing the same thing, watercolors, you'd have to paint around it, so we will have to leave this part white. Then paint around it. You cannot really go from dark to light and watercolors. Now, while that is true, It's still recommend going thinner layers when it comes to layering technique, which will, again, we'll be covering in much detail. But the base layers, the layers that you start with, gouache, I recommend them to be much thinner or rather not as thick inconsistency as you use gouache in general. So the first few layers are usually started, then goes up to the watercolor consistency like this. So this is again quash, but at much watery consistency. This is because when you paint layers on top, being the gametes, it can be believe it, and you can end up up the pigment from the base layer. If you lead on a very thick layer to stop it, you'll end up picking pigments on subsequently as like in this case, if I try to paint white over this, I can do it with a much thicker white. But while you're doing that, if you layer too many thick layers like that, it will tend to crack. So I recommend starting with a lighter or not in terms of color, but lighter inconsistency of budget thinner layer, and then layer it up slowly with different shades, different colors. It need not be a darker color. You can always be white on top of this. Just that it has to be a different thicker consistency. So start with a thinner consistency of layer and then we slowly build it up. It's going to be covering the daring path in much more detail. In another section. I just wanted to cover all the basics in an actual, so that's it, that's it for this section. See you in the next one. 4. Mixing greens: Now in this section we're going to make some beautiful, beautiful green. So we'll just be using the basic colors, the primary colors, and a bit of white and black to create all the shades of greens that we need for this class. I'm just putting out some yellow here and cobalt blue. So these are the two main colors that we'll be using for mixing all the greens. So let me just keep it here that you can see how the mixes are happening. Basically, once you have these two colors, do you know that mixing them in different proportions is going to give you the print. And then to add to it, when you add in a third color, like a black or a white or red, you get a few more sheets. I'm just going to make two separate sections here. Add more blue to one and add more yellow to the other one. So if I just start with this part, I'm just going to take a little bit of blue and start mixing it here. This ones with a lot of blue and less yellow. That's one shade of green that can get simply by mixing more blue and less yellow. Then you can do the same thing and add in a little bit of black to this and you'll get a much darker shade. Now, remember that when it comes to gouache, black and white up quite powerful colors. So even a little hint of black is going to create totally differentiate and a much darker color. So you don't really need to add a lot of black to this or even a lot of white to it because this kind of changes the consistency and the color completely. I'm just taking out a little bit of black on the side so that we can mix it and adding very small amount and create this beautiful greenish, blackish color that is here. This is what I'd be using for most of my base layers. I tend to go for either black or this dark is green that you can get, which is also mixed with a hint of black. But I do consider black and white to be quite powerful when it comes to coerce. They're quite pigmented, so do use them sparingly. Now, next step will be set onto this side with a lot more yellow and a little bit of blue. So the first color you'd get with this would be closer to library and sap greenish kind of color because this will be a lot more yellowish. And as you add more yellow, you'd go to works at lemon, lime, green color. This would be on the lighter side. Again, once you mix black or white, but you can get more options. For example, if I make a little bit of black to this, you'll get a differentiator green. In the previous one that we mixed black tool that was more than the blue side. This is more on the yellow side, but still even with a little bit of black and see that a different shade of green can be created. And that's about the black part. Now, I'm going to take a little bit of white and mix it to these greens that you can get. With white again, even a little bit of pigment is going to change the color completely. And also if you want to make any color more opaque and less streaky, can just add a small hint of white. And you'll see that the density is quite a bit. This is the mixed with a lot more blue. And you can see that it is almost having that kind of color. On the same side. If I just mix a little bit of white to the greenish mix that we had created. You see that it's giving more of the yellowish site. So you can just play around with this added more yellow, adding more blue, add a hint of white, either end of black and see the different colors that you can create. The meat looks slightly different based on the kind of blue you're using, other kinds of yellow you're using. That's fine. The idea here is to mix different greens and they did not look exactly like the ones that you see here, but you still have your own sheets of darker green and lighter greens. And that's all we're going to try out. Now we make this a little more interesting by adding grid as well, because you can create a bunch of different greens by adding a very small amount of red to this mix. This more on the olive green side, and it's also an equally beautiful shape. Again, primarily rely on the yellow and blue to create all the beans. So these are going to be your two mean colors. Any third color that you're adding, your bead, white, black, or red, is going to be much less in proportion as compared to these two. So these are kind of the additive colors where you're going to just add them so that you can play around with the shapes, but they're not going to be in the portion itself is not going to be a lot. It's always going to be yellow, blue, and then a small amount of a third color. So you can try this out. Like I said, based on the colors, the pigments that you have, your greens may vary a little bit, but adding this red can give you some beautiful shades of green. And then again, adding a little bit of black to it can give you a darker shade of the ALU *****. This is something that I like to play around a little bit and you'd want to mix them separately. See the kind of things that you can come up with, just these colors. And for the lightest green, again, you can always add in a little bit more white to create the lightest green, which is going to be the highlight, which is going to be the top layer for you. But I would still suggest trying to keep the third lip color to the minimum so that the green still shows up. So you can add in a little bit more white to the lightest colors so that you can have that highlight popup. But that's about it. Those are all the greens that you can mix. And maybe you'll be mixing more as well based on the blues and the yellows that you have. So see you in the next section. 5. Layering: In this section I'm going to cover some basics about layering. And specifically about how to go about layering a small plant or a shrub. This will give you an idea of how to build it up the texture, how to play with the light and shadows, and how to build the overall mood with the different reads that we have mixed. I usually always start with a darker base layers. So this could be the darkest green that you have, closer to black, even if you want, you can also go with black. But I prefer starting with a darker layer and then building up the mid-tone and then the whites over it. Because if you have cried out gouache, you'd know that even a little amount of white can cause the remaining layers to get all muddling. I prefer to use white in the end so that I don't end up picking the pigment up in the subsequent layers. So I always start with a darker color like this for the base layer. Then next we'll add an, a slightly lighter green. We build it up. So now we go to a midtone, which is going to be some work like an olive green or even a radian for example. You can use any of these slides, the darker greens that you've mixed, and then use a smaller brush to build upon this. Now for three leaves or the smaller elements that we are going to act with this, you can simply do some dabs, which is like this. You can create the effect of leaves like this. You can also go for much detail. Leaves like actually drawing the proper leaves. If you're working on a foreground trap, for example, you'd want to have a lot more detail on the leaves like this. And then also you can have different types of teams like simple strokes, just like this, create the effect. So what you're going to add here as the detail depends totally on the type of trap you're creating, the type of leaves you want to add, etc. But this particular thing, You can fix the kind of leaf that you want and then build up on the same thing with different colors of different shades of green. So you can start with a slightly darker green. Now that you have the base layer, we will start with a slightly darker green and then add in lighter green. And then maybe the final layer with the lightest screen that you have. This could be a yellow-green mix or with a hint of light. Either way, we're going to build it up from dark to light. Next style, pick up a slightly lighter green. Again, it's not that this is a very light or vibrant green is just a little darker than the beastly that you've laid out. And we'll start adding the leaves Hills. So I guess this is not too clear, so let me just zoom in a little bit. We start adding the leaves here. Now, you can decide on a source of light. And what we would like to do is to add the lighter greens to the park, bet you have your source of light and then leave the remaining part darker. Now, this need not be the case always, you may be painting a scene with not really have to play with light must. But I like to add this element so that you can decide which we like this. Like, I am here, I'm assuming that my light is on the top-left corner, so I'm adding the leaves accordingly. So I add a lot of lighter leaves to the left and leave a little bit darker batches on the right. So this is our second layer. Now the number of leaves you want to go for is also totally your call. I usually go for three or four years of green with the building of the lighter greens as we go. But you can always add more layers, just that you don't want a lot of thick layers because gouache can tend to crack on the paper as well. So you don't treat you want to layer it up with a lot of pain. But that's it. You can always add in multiple layers as long as the thickness of the paint is controlled. So next I'll add in the next layer of green. You might have to wait between the layers to dry, but a sensitive squash and gouache dries much faster than watercolors. You won't really have to wait months. So in my case, I didn't have to wait much. The paint is drying super-fast some onto my next screen. So as you can see, this is again lighter than the previous layer. And I'm assuming the source of light is on the left. So I'm adding a lot of lighter leaves on the left and still be adding a few on the right, but it's mainly out towards the left that I have these lighter green. As you can see, once you start adding these details, once you, I'm adding the lighter greens, the depth starts building up. The more layers you add, the more depth you can create as well. But I usually go for three or four layers. And since you are adding these details, we'd want to do it with a smaller brush or a brush with a good tip. Because since you're moving towards the foreground or since you are moving towards the top layer, the detailed start becoming more prominent. That's why you'd want to add these details slowly and then move on to the next layer, which would be again, another lighter green. I'm starting with my top layer. Now this part, I won't really added a lot of lighter color because you still want the depth to show. You still want the base layer to be visible while glaring it up. You really still want the base layers to still show up, but you still want to have those highlights as well. So that's why I'm adding these towards the left. You can see that this creates a nice depth. This is what we really want to achieve when it comes to those green landscapes. Primarily. All we do in a nutshell, so we start with a darker green, and then we lift it up slowly with different shades of green going lighter with each subsequent sheet. And we tried to keep the base layer thinner. So you don't really want a very thick base layer, but it's still going to be the darkest color. And as you move towards the top layer, we're going to add a little bit of white towards the end so that the highlights are retained. And you decided on a source of light and you just kind of add more highlights to that site. But that's about it. Start with a darker layer and then move towards glider highlight path. And that's it. See you in the next section. 6. Project 1 : Green Trail - Part 1: Starting with our first project. In this one we'll be painting a beautiful stably through garden area or green decrease. So I'm just getting out the outline, not a lot of detailing. This is mainly a placeholder. Again, you can use a golf pencil or a light one for that matter, since this is squash, it will get covered early prominently paint over it. So not much of an issue for these stairs. Just make sure that you are aligned with the perspective. So like the steps that are closer to you, they are bigger and the ones that you're further away as sort of smaller. Then we'll have some crease frame for decrease. The ones in the background are smaller. As you move towards full ground, they'll be broader and bigger as well. And also we'll be adding a lot more details to decrease in the foreground. Again, I'm just pleased with peas. And once we start painting, a lot of these will be guided, painted over. But that's fine. We're trying to create sort of a placeholder here to know how the composition will look like. That's it, That's all the drawing the two. Now, let's get started with mixing the colors. So I'll just take some blue and yellow over here. Now we're going to make some gorgeous, Just like what we did in the mixing green section. I'm going to be doing it most of, most of the times on the goal, like not mixing them in advance. So you can kind of changed the proportional yellows and blues over here so that you can get different greens, but I tend to keep it spontaneous. So we'll start with the first layer, which is like the background layer over here or decrease. So this again is going to be a very base layer. You'll have a lot of different layers on top of this. Don't worry if it is getting a little streaky or it doesn't look affect the blended at this point. Also, if you want to avoid three throat, you can do is keep your motion from either left to right or right to left. But in this case, for me specifically, I don't really worry about the streets at this point because we're going to cover it up later with the trees, with the traps, etc. All right, We're done with that part. Now we'll start with the foreground shrubs, the base layer for these again. Again, this is going to be here lightest clear in terms of the consistency. I'm not adding a lot of pigment to this. I'm keeping it quite light in terms of consistency. But this is going to be again, your base layer on top of which will be building up. And subsequently as a lot of this gets covered by the later layers. Even if this does not look like, even are consistent in terms of streaks, etc. Don't worry too much. I'm using a flat brush here to create these proofs. But you can also use the same round brush or any other brush that you have to get started. Like I said, this is the base layer so you'll be adding good, definitely believes and details on top of this. But you can keep the shape aligned. So to say for IGES, use this flat brush to create these peaks. I'm doing the same thing for the program bushes, but I used a slightly different green. So as you can see that it cleaves a little bit of variance and makes the composition more interesting. I'm using a slightly lighter green for the foreground. There. We are done with the base layers for the sharps so we can work on the stairs when this dries mix a brown here, I'm adding red to this green mix that I created. Maybe add a little bit more yellow. That's kind of nice brown to start with. So I'll add it as the base layer for the stairs. So again, don't worry too much about the streaks here of how this layer looks. I tend to call it the ugly fees for garage paintings. This stage when you don't really like how it looks, you're not really sure how it's gonna look in the end because this moment it doesn't look pretty. That's fine. That's a part of the process. I keep saying this specifically garage, that you really need to leave a painting because you can always cover it up with layers and fix it, causes a very forgiving mediums. So unlike watercolors, if at any point, if this is not really looking good, you always have the option to cover it up with layers and fix it. Don't worry if it looks good point, we're going to make it into a beautiful painting soon. Start with the background crazy over the same brown. Since my background layer has already it. Dry. Gouache, dry super-fast. So that's another class for you. You don't really have to worry much about the linears getting dry or mixed up. The only thing is that because of the re-weighting property, get into picking some pigment up. It's a very thick. And that's another reason that we went with thinner consistency the earlier all the pencil marks will kind of covered up, but I'm just making a guess as to where the preschool and adding them on. Now for the program trees, I'm adding a slightly darker brown. I'm mixing it on the goal. I'm not too worried about keeping the same color for all the trees because in nature is really won't see that every tree the same color or obviously sheep, etc. You can keep it random here. You can keep it nice job. You can mix on the glue or if you prefer, you can definitely keep the colors mixed as well. Moral human excrement mode right now as I'm just adding the colors on the group. But that's it. That's the base for the trees to add the details of the texture, et cetera, in subsequent layers. But for now, this is our base layer. What I call the ugly. But don't worry, this is not how your NPV is gonna look like. It's gonna look super beautiful. We are going to work towards it. So I've just changed my wheels for this one so that I can mix some fresh greens. I don't want to model it with that brown. Again, some pressure though and fresh blue to start with the green path. Using a smaller brush. Now, to start with the shrubs, Beatles-type with the background shrubs and slowly come towards the foreground or background. I'm not adding a lot of details. It is mostly just dabbing the brush there because this is at a distance. So you won't really be able to see a lot of details within, even otherwise. But as you come towards the fulcrum, we would like to add more details to the shrub so that it's more defined. And since it's closer to your eyes, you can see more details as well. Now as we move towards the foreground, I'm mixing a different green. So this is a quick that you can try out. Interrupt keeping the same green for everything. When you're mixing it on the goal, he kind of get different greens for Eataly. And that is more fun. For this one. I'm using this simple green kind of stroke where you just brush and let it go. So it's kind of giving the grass, just keeping it random. So this is going to be the kind of PD that I'm going to be in for this particular idea. So what we need to keep in mind is whatever you do for this layer. For the next layer, when you add in a lighter color, you have to repeat the same motion. So I tend to keep it simple and just adding this flickering motion and that's it, that's your grass or trouble with this. So I'm going to use the same motion for the next layer of this particular set of trap. This is kind of the middle, and then you have the whole ground shop. Now here again, for the foreground, I'm using a slightly lighter green. It's going to be different than what you just painted or the midground shrub that is just behind this. So I'm using this lighter lemon yellow kind of color. Now this being kind of closer to you, you can see a lot more detail with your rice in this, in this particular layer. That's the reason I'm adding properly skill and not just a random dabbing motion. These being the foreground shrubs. You want to add a lot more detail and have a little bit more definition in the strokes. And whatever you're doing right now, whatever type of leaves were painting right now, you'd be painting a similar type of, again with a lighter color. But this is again, not till finally, you'll have more highlights and more layers on top of this. But still since this is closer to your eyes, we tend to add more details in this layer. Also note that we do not want to hide these clear completely, so I'm still keeping some gaps from where you can see that darker green that we painted earlier. I want to retain it that way because I still wanted to show up a little bit even after we have the next clear, at least still be there in the background. 7. Project 1 : Green Trail - Part 2: Let me start with the next layer or the strap just behind this. I'm using a slightly lighter green this time. We're just adding some details onto the earlier layer. It's more of a highlight. I'm not adding a lot of strokes here. We still want the base layers to show up. But this is more like adding the highlight layer to this particular shrub. Now you can see that slowly it's starting to pick up slow-release, giving some depth, some meaning to the painting right now. And that's what we wanted. While the Christ, and just add some details onto the tree here. Limiting the brown to that well, and just adding some simple strokes like these with lighter brown, white mix. I'm just going to add everything like dropping the color here. And then we'd use a clean brush later on to blend it all together. But for now, just adding the brown and white like this. And managers clean my brush and I'm just using the dabbing motion to blend it in. I don't have any color on the brush. It's simply just water and very little water actually, it's quite a dry brush. I'm just using a little bit of water, dabbing it onto a tissue and then just dabbing it on the paper so that it blends in. Just about creating a little bit of texture on the background trees. You do the same for the foreground readers will be adding the texture or the detail onto this. But you'd also want to have some shadows onto this leg. What we did now was mean to be adding the ground and the white to create a bit more texture. I'm also taking a small amount of black here, going to add it with sort of a dry brush technique. Not a lot. Just dabbing it in like this. Now, we repeat the same for the foreground crease, adding in the texture. You can blend the white and brown or maybe add in the shadows with the darker black. It's mainly just dabbing the brush and trying to build up texture onto these trees that they don't look flat. You don't want those black brown trees. And again, I'm not mixing any colors. You're keeping it pretty random so that it's natural. I'm playing with the colors here. I'm adding in a little bit of darker shade here and there and then trying to blend it in with the previously. Since wash read it easily. If you have a very thick layer that was painted earlier, you'll notice that you're picking up the color from that clear. It's fine. You can just make sure that you're not using a super wet brush because that's what will tend to pick up the color. As you go to your subsequent layers. You would want to increase the consistency and use much less water so that you don't end up picking up the big men from the earlier layers. Now we add some details onto the stairs via the greens dry mixing another brand here. I'm just going to be a slightly darker brown than what we've mixed for the base layers. I'm adding a hint of black and blue greens. Of course. We add these steps right where we drew those lines if it's not visible, just make sure that you are. I'm adding them in a way that the broader as they come towards you and shorter as you know, towards the back, the steps get is keep getting elongated as they come towards you. But this is a kind of the shadow part of the step or the vertical part that you're trying to create here. Just using a darker brown to do this. We'll add one final round of detailing onto this later on. But this is again the second layer for the stairs. Now we move on to our final layer for the shrubs. For this, since we're going to add the highlights, my emphasis is going to be your lightest layer. I'm adding a hint of white to the green that I'm mixing. So you see that as soon as you add white becomes kind of extra opaque, even though garages and generally is a big, but with a little bit of white, you see that the color changes significantly. I'm trying to sort of a yellowish white, adding it to the background layer against this in the distance. So you don't need to add in a lot of detail here. Now moving on to the foreground tropes over this one in the middle. I'm using the same flickering motion, but this time adding in these whitish, yellowish leaves like this. And you can make it come over to the stairs so that it looks more natural because that's how it's gonna be. It's going to be a little bit overgrown and there'll be leaves a blank. So we add all those bps. This layer, I guess we're done with this one. Next, we move on to the foreground. I'm adding a little bit more white because I want it to be slightly lighter than the previous layer. We again start painting the leaves. But since this is the final layer, we add in a lot of detail here. Or rather just stick to painting actually leaves and not just dabbing on fresh. Now, when it comes to these, you can cry to vary the size of the leaves and also the direction because you don't want all of them to be in the same direction. So you would want to add in a few just going. And it kind of adds to the overall composition. Now you can see that it's slowly picking up each layer that we add. You kind of see more details being added and more definition coming in to the picture. Gouache painting doesn't look right to you at any step. There's always a way to fix it and make it move your foot. So that's what we're doing here, needed to be adding more details and try to make it look as previous possible. Now the background frog looks a little bit boring to me and it's kind of blending in with that other green. So I'm just adding a slightly darker green and practice here. So like I said, if at any point you feel that something is looking boring or not as good as you want. You can always add in more details using gouache. It's always easier to add it with a dark color. Later on. I just added a few more strokes to the middle, Chavez way. Now we start with the final layer called the stairs. So I'm using the darkest problem, kind of closer to black and just adding this at the base or the previous dark brown layer that we're potent doesn't like the end of the shadow. So for this, I'm using a brown that is much darker than the previous one. So you can see that clearly gives the illusion of depth having a shadow. Now the app, a final round of details to decrease this, I'm using a slightly lighter brown mixed with white. I'm just dabbing it in here. So I'm using a varied cry kind of brush, not a lot of pigment or water, simply just stopping till protection. And we'd also add a little bit of black to this. Adding in a little bit of black over here so that it is some texture on the crease on the grants. And yeah, that's it. Now one last round of BP left or the whole ground sharp. So I'd like to add a little bit of white, maybe some globals onto this. So we go on that after we're done with the crease. I'm starting with green, greenish color, not pure white here. Since the white is quite powerful and you can see that the color almost surely the best white here. I'm adding it mainly to the foreground. A little dab off the brush. I'm using a smaller brush here so that I can add in the simple dabbing motion like this. Adding in a little bit more right here. Maybe add in some stairs so that it looks like their volume from the shops over here. Adding highlights is super addictive. Kind of lose sense of when to stop sometimes. This case I think I'm done. So really wrap it up here. That's that first project. I hope you enjoyed it. I hope you learned something new and we'll keep this one a cry. See you in the next project where we try out another beautiful tree. 8. Project 2 : Floral Pathway - Part 1: Moving on to our next project. And in this one again, we're going to paint beautiful creep with a gate. So I'm putting my ground level over here. We'll have a gate here. Trying something super-simple to sketch. And again, we're going to paint over this kid. But this is more for us below the individual elements. We're going to be in this one black. So it's slightly that all these pencil marks will be covered. You're also going to have some crease here. Some shrubs here. And then over here, which we will paint with. Myosin from Brown's. Just making this batch pattern over here. A few shrubs over here. Then some crease in the background. Now for the background layer, we're going to paint a very gradual background, starting with a very light center. Then as we move outwards, is going to get a slightly darker green. For the center. I'm using a nice yellow light and having very little pigment at center. And as I'm adding in the green, again, even if this is streaky, it doesn't matter. Just use this circular motion so that it all kind of resembles a flu. But you don't need to worry too much about how it looks at this point. Because we're going to cover it up with trees that are going to be lots of layers that come in front of this layer. Just added the colors, just adding the gradient. As we are moving on, I'm adding in a slightly darker green, as you can see, not putting in too much effort to blend it in this tab, in the colors and then maybe use a clean brush to blend it in. Now using the lighter color to blend these two colors. But that's it, that's our background. We're done. Now we'll start with the shrubs or the green. I'm using a slightly darker green here, closer to black. And we'll start with this particular layer. Again, very random strokes at this point because this is your background layer. I'm not trying to add in any detail at this point, just kind of color blocking. That's one of the most important things that we do. Adding this kind of block helps you fix the position for the shrubs. And then you can add in all the details on top player. Doing the same for the foreground truck, adding a slightly darker. Just trying to make sure that we have a variety of greens in here. I'm just mixing in a slightly darker shade here, adding a little bit of black. That's again a color blocking for the foreground truck. Now, we can add in the pathway at this time while the background is still dry. So I'm just adding this here. Again, the base layer. So not too much to worry about here. Even if there are street, even if it is kind of overlapping something, it's fine. You're going to add in the details and it's gonna just looked just fine afterwards. This is done. Now let's start with the background crease. I'm mixing them brown here and just adding in the trees over here. So again, I'm using a flat brush for all this, but you can use any brush. You can go ahead and just use one round brush for the whole painting that is perfectly fine as well. It depends on the size of the paper that you're using and also how comfortable you are with a certain type of brush. Lot of people are comfortable with specific round brush, for example. And that works just fine. Use any brush that you have. We just need to get these colors in and have some fun. Now while degrees dry as start with the background truck. I've mixed a nice warm green here. Starting in simple dabbing motion. This is again in the background so you won't be able to see much detail onto this. Just adding it in here like this. We can add a few on the gaiters. Well, black as it is slow. All be covered. We can add in the details in the next row once we are done with the game. Right now let's paint the gate here. Suggest following the pencil drawing that we had done earlier. Just adding the color in. Now, start adding some details onto the trees. So I mixed another green over here so that we can paint them the leaves for the crease. This can be a slightly darker green because this is going to be in contrast to the background that we painted. For the leaves. Again, I'm using the simple dabbing motion. Be adding some flowers to these trees later on. That will provide a very nice contrast to the green that we're adding here. And also to the background that we've already painted. Like I said, now we're covering up this area of the leaves. You can see that all those all those mismatches that you may be worried about in the background gets covered with this. Adding in a few more here. We'll add a few more layers of you uses very good, darker color. Now while that price will start working on the pathway, I'm adding a slightly darker brown and creating those patches like this pattern. 9. Project 2 : Floral Pathway - Part 2: Now starting with our next clear, so we'll be using a slightly lighter green purpose. Just mixing up here. More yellow and less blue. Start painting from the background and then slowly come towards fulcrum. Here I'm adding a few leaves that are kind of covering the gate as well. Just fine. Just creating a mix of the two greens that would there in the previous layer and this layer. Now for the next layer of sheriffs, I'm going to use the same flickering motion and just add in the leaves over here like this. Again, you can make some crossover to the pathway so that it, it looks natural like this. Now this maybe Trump is looking kind of monotonous because the greens kind of overlapped. So I'm going to add a slightly darker green to add some depth. This is the part of board garage again, correct things. You can mix and match things and make things work like this. Now, IP let, now it looks much, much better. Coming to the foreground layer here. Now I'm using a lighter green. We'll have symbols, smaller leaves. Not too much detail as in the last project, but still this is closer to you. So you'd still want the definition to be better than what you will do in the background layers. This one being smaller shrub, I'm just adding these small leaves by the dabbing motion. But doing it much more recently than what I would do maybe for the background layers. Because you want this layer to look more detailed and better. We're done with the first layer. Now for the second layer, I'm going to add in a slightly lighter green, just mixing it, he'll be added right on top. Now if it is a super wet because of the previous layer, then you can wait for a few minutes before you start with this one. In my case, it's drying nicely and gouache and general dry superclass. I'm just starting off with the second layer. You can see that I'm not picking up anything from the previous layer, which means it. Right. Now You start with our background. Again. Adding the same onto the leaves. The leaves here are much bigger. Affordable brush Tap kind of thing. I would like to add another layer of leaves here, so adding in much lighter green, almost on the yellow side. Same motion for the leaves. Just a simple data like this, making sure that all the previous layers are still visible. So when you layer it up, you would want the previous layers to still peaking. Leave ample options for that. Now we start working on the highlights. For this. Again, we use a very light green, more on the yellow, white side. Some simple dabs here in the second level of crops as well. Not too much of a highlight, just a few strokes. As you come towards the foreground. Adding a little bit more detailed to do finally, simple dabbing motion, but being mindful of the previously, while we're at it now, we will add in slightly lighter green mixed with white or the highlights of this layer. Purchase, given that we have some highlight on these as well. Now we start with the flowers, so I'm mixing pink. Just added a bit of white to the red that I had. We start with a darker pink like this. Some single dots for the flowers. Then add in lighter pink or highlights. Also adding some flowers on the pathway, some that have fallen from the tree. Now again, middle shrub is looking a little bit, but not least to me. While this layer of paint dries, I'll just add a few streaks, darker, blackish green to it. Not a lot, just a few streaks like this. Somehow it looks much better. Now. Let's get started with careers. Little bit of black here. In the final round of details, we add in a little bit of highlight to the flowers. Mixed a little bit more white with that pink that we have dabbing that on these flowers. Adding in a few more petals here and there just for fun. One final round. Just adding some highlights on the tree as well. This is more white and green. Maybe just one more round of leaves. Done. That's it. That's our second project. I hope you enjoyed this one as well and give this a try. The next section. 10. Thank you! and beyond: Thank you so much for joining this class. I hope you enjoyed it and I hope you learned something fun about painting greens with course. And you learn something new about mixing all those greens. I hope you'll give this a try. I hope you'll try out the projects if you do, please do share them in the project section. I'd love to see them if you are in social media and if you're sharing your projects there, you can find me as that crazy dude, low on Pinterest, Instagram, and Facebook. So if you are sharing your projects, they're due time. We, I'd love to see them. And as always, if you have any feedback about this class or any of my other classes on Skillshare, please do reach out to me. Your feedback really helps me in creating better glasses. Once again, thank you for joining me on this fun adventure. I hope to see you soon with another class. Until then, bye bye.