Landscape Painting Workout - Mountain Scenes | Mandar Marathe | Skillshare

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Landscape Painting Workout - Mountain Scenes

teacher avatar Mandar Marathe, Fine Artist, Sculptor, Illustrator, Designer

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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

    • 1.



    • 2.

      6 building blocks


    • 3.

      Drawing, Composition, Value Study - Sunset Vista


    • 4.

      Underpainting - Sunset Vista


    • 5.

      Color Block In - Sunset Vista


    • 6.

      Final Details - Sunset Vista


    • 7.

      Drawing, Composition, Value Study - Blue Mountains


    • 8.

      Underpainting - Blue Mountains


    • 9.

      Color Block In -Blue Mountains


    • 10.

      Final Detail - Blue Mountains


    • 11.

      Drawing, Composition, Value Study - Mountain Reflection


    • 12.

      Underpainting - Mountain Reflection


    • 13.

      Color Block In - Mountain Reflection


    • 14.

      Final Details - Mountain Reflection


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About This Class

If you love landscape painting and want to learn the steps involved, this class is for you. 

My name is Mandar Marathe and I’ll lead you through this class.

There are 6 building blocks that build a successful painting and In this class, we’ll talk about how those blocks apply to these 3 paintings.

I have separate in-depth classes on the building blocks of drawing, composition, values, color theory, color schemes and painting technique and so in this class we’ll concentrate on putting the theory into practice.

After we talk about the building blocks, you’ll see how I proceed through the stages of sketching, value study, color mixing, underpainting, blocking in and the stage of painting details to complete the paintings.

Following these steps while painting your own version of these paintings will help you do the practice and you’ll see a massive improvement in your art.

So, if you are a beginner or an intermediate level artist, you’ll find this class very helpful for your artistic growth.

So, let’s meet inside the class!

Meet Your Teacher

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Mandar Marathe

Fine Artist, Sculptor, Illustrator, Designer



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I am a fine artist, illustrator, and sculptor based in Pune, India.

I chose to become a full time artist in 2011 after 15 years of corporate career in manufacturing and IT.
During my education and corporate career I made art on weekends and exhibited it through solo and group shows. But I wanted to make more art and more often!

After quitting my day job, I've created and sold my own art more often and have taught 20000+ students through my workshops, courses and membership.

My art teaching method got refin... See full profile

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1. Introduction: If you love landscape painting and want to learn the steps in world. This class is for you. My name is Amanda Marathi and I will be leading you through this class. There are six building blocks that build a successful painting. And in this class we will talk about how those blocks applied to these three paintings. I have separate in-depth classes on building blocks of drawing, composition, values, color theory, color schemes, and painting techniques. In this class, we'll concentrate on putting the theory into practice. We'll see how I proceed through the stages of drawing and composition. Value study, color mixing, underpainting, blocking in the stage of painting details to complete the paintings. Following these steps. While painting your own versions of these paintings will help you do the practice and you will see a massive improvement in your art. So if you are a beginner or an intermediate level artist, you will find this class very helpful for your artistic growth. Your project for this class is to follow all the steps shown in this class and paint your versions of these paintings. So I'll see you inside the class. 2. 6 building blocks: Welcome to this video. In this video we're going to learn about the six building blocks of painting. When I say painting, these blocks are important for any kind of painting that you do. It could be landscape, it will be still alive. It couldn't be figurative painting or boarded or anything like that. But for this class, we are going to concentrate on the landscape aspect of it, or landscape type of paintings. So the first building block of this whole thing is the concept. Concept means the idea behind your painting. When you go to a particular place you like the place. You feel like painting it, or you look at a photograph and feel like capturing it in a painting. Then you start with that as a, as the idea or the concept. So that is basically what it means in the concept is very personal to you. If you have intensely experience it, then the painting based on that also tends to be nice to New Kent and more appealing to your audience. Then comes the drawing part, wherein we need to capture that idea onto paper, which is a two-dimensional thing. And what do we capture? Because scene in real life, as many things then there could be mountains, trees, robes and rivers and whatnot. But because a painting is a snapshot of a particular thing, we need not, or we should not rather capture everything that we see. Rather we should distill the scene to capture the idea that maybe it's the sunlight or the lighting condition which you like. You, maybe you like a particular object there and you maybe like a particular effect of the season which is there to be chunky like capturing and whatever shapes are helping you to capture that mood. You should keep it in the painting and whatever is distracting should be removed. And that is what is composition all about then comes to value. Value is actually a competent of color. But because it is very important, we have listed down it's separately here. So value means basically whether shape is how dark is it or light it is as compared to its surroundings. And because we can recognize the objects are in black and white photographs, even if there is no color, which means value is very important to. Visual effects are creating the sense of the LED in your painting is pretty much done by value and color or the hue and saturation act as the icing on the cake. Okay, So when it comes to color, you need to figure it out or decide which kind of colors which you want to use. Whether the scene you're going to be painting is a muted seen maybe a rainy day. Then you need to use muted colors. If it's a bright sunny day, then you can use very bright colors and so on. And finally, the technique, which is very much dependent upon the medium you're using. E.g. if you are using opaque colors like orange psychedelics, casein, or wash, then you need to paint, or generally, you paint from dark to light, which means you paint the dark shapes first and then go on painting lighter and lighter areas in your painting. Whereas if you are using transparent medium like watercolor, then you start with the lightest areas and go towards darker areas. So those are the six building blocks. And now we will see how they are practically used in the paintings, which we're going to do in this class. So these are the paintings which are, which we are going to do in this class. And as far as the concept is concerned, here, the concept is, I'm trying to show the huge mountains which look very blue because of the atmosphere, because of the cold weather and very dim light, and also because of the distance. And to contrast that I have a tree here which is like very dark as compared to this and the dimly lit foreground. So that's the concept. Then in this painting, the concept is bright sunlight hitting this area and the presence of this big, big mountain. Then as far as this painting is concerned, the concept or the idea is about the sunset. So we have these brightly lit clouds and then other colors are very much muted, except these mountains which are far off into the distance. So if the concept is appealing to you, then the painting tends to be interesting to do and also interesting for people to look at. So that's the concept part. Then as far as the drawing is concerned, it's need not be because we are going to paint over it and relatively less accuracy is required in landscape as compared to portraits. We can make the drawings very simple, just like this. So you'll then see how the painting is and how the drawing is. You can see how simplified this is. Each of these. You can see these two large trees, 13 here, then there are mountains and there are no details in this very, very rough drawings. So this is enough to start with. You will actually see the drawings which are, which I have made when we go to the next videos annual and see the value structure and value sketch which I'm going to do. So you will see there the real sketch that I've done then comes the composition part. So in terms of composition, the very important thing is, where do you place your focal areas in this painting? The focal area is here because this is the area of highest contrast. But just behind that or other area is not very uninteresting, which means this is also an interesting piece, but this does not attract as much attention as this. And as per the rule of thirds, you can see that if we divide this into three areas, then the Logan area or the area of interest is somewhere here. For this painting, the focal area is this brightly lit area. And you can see that it also falls near this point. So this is called the rule of thirds. And you can learn more about this in the composition class, which I have. But as far as this class is concerned, you just need to know that the focal area or interest area should be near one of these intersection points when you divide the painting in three equal parts, vertically and horizontally. In this case, in this painting, you can see that the FOAPAL ADR is this because there is lot of contrast here. Maybe even here. So this area is the focal area. Even though this is very dark, this becomes the secondary focal area and not the first one. Your attention first goes here and then comes here. Now in terms of value, Let's see how value is nothing but you should be able to see the painting in black and white. And you should still find that the painting or the composition is interesting. So you can see, let me show you if I convert these photographs into black and white here. And for reference and give you the value sketches which I've done for each of these. You will see this how I made these in the next videos, but right now, see the similarity between this and this. Okay, So this is the new sketch which I did for or before painting this. This is the value sketch which I did before painting this. And this is the values study which I did before painting this. And if I had seen any problem that this painting or this venue study does not look interesting, then I would have changed it. Okay. So it's not necessarily that when you start with a sketch and do a well-known study, you have to go ahead and make it into a painting. If you find that this value sketch is not interesting, you should go back to your drawing and revise the wrong position so that it becomes interesting. Then comes the color. In terms of color, you can see that this is primarily a blue dominated scene. I'll tell you the exact colors which are used for each one. When you look at the video, in the video, explain what colors I've used, e.g. this has Prussian blue in it. This has ultramarine and civilian blue in it, and so on. So of course there is one yellow, one red, and brown and white. So that is where you have to design what kind of colors you're going to need. And the suggestion is to use a very limited palette, which means you should use only three or four colors plus white and make the whole bending that way. You get the gunner harmony very easy because you are mixing all the secondary and tertiary colors using these 34 colors, everything looks perfectly in place. And then technique, in terms of techniques on these paintings, are done in oil. I have painted and in wet, in wet. But if you happen to use transparent medium, then you should always go from light to dark areas. In terms of sequence of painting, you will see that here I've started with the mountain first and then come to paint the tree and the foreground. Here, I've started with the dark shape first, which means the trees and the mountains, and then the sky. And then refine the shapes. And here also I started from the farthest objects. This is another way of painting in which you start from the farthest objects and gum Towards the foreground one-by-one. Of course, if you have a very complicated object like this, which has holes in it, then it becomes slightly tedious to do that because we are painting wet in wet. But those nuances are independent or dependent on the medium you're using. All of this might sound very overwhelming to you. But once you know how each of these paintings are done and what kind of work is required before applying paint to the canvas. And with practice, you will feel that this has become your second nature. It's like a person learning to drive a car where he or she has to pay attention to the break, the accelerator, the steering wheel, and many other things. And as the person does practice drives for a few days, then it becomes second nature. You don't even think about when you will have to take a turn and apply a break. So similar, neither painting process also becomes easy. And you are second nature when you follow the process. So in the following videos, you will see me go from drawing to value study to underpainting to blocking and detail. So you should follow this sequence whenever you paint so that it becomes your second nature. And after the while. Paintings also improve and you don't have to consciously do many things unconsciously or without knowing. You will do certain things which are good for the painting and you will enjoy the painting process much more. So with that said, let's go to the next video. 3. Drawing, Composition, Value Study - Sunset Vista: Welcome to this video. In this video, I'm going to do a value study based on this sketch here. And I'm going to use that for making a painting in oil. The value study will help me understand the value structure, which shape is darker than which one, and so on. Their interrelationships so that when I actually start painting this on the canvas, it will be much more easier for me. So I'm going to use this. I have a dark color which is Payne's gray. And I have here some white. And I'm going to make a value study based using just these two colors. This being very middle gray. I've got to use this for the mountain here. And this is, this is same as this gauge. Be the mountain is to some extent seen on this side. I will paint the trees darker, obviously on top of this so that I get and I started in the middle because then it's easier. Who change values as it required. If I started with black or the white. Maybe it's slightly tougher. So that's the idea. Now the clouds are going to be of a similar. The underside of the clowns is going to be obviously light dotting Lendu. And the mountain here is going to be darker than the flower here. And also similar value. Maybe this until then the top of these clouds will be slightly darker. And I don't want to get into the details on knitting. It would be all I'll eat, shape should look. But this value study is to help me in understanding the value pattern. So now this cloud, which is at the top, is going to be much darker. Something like this. And that please here. Let me post the ground plane, which is this. This is going to be riba because this is the k on which we are standing as observers are added as the viewer. And now I can paint the these near the bottom of the mine. This and fueled nice. And now let's paint. Now the street. You couldn't use lag on so far this I just did not find that. You will right now. And so I'm using Payne's gray, but any dark color plus y is good enough to make a venue standing or bernie to a specific color that you just don't use, a light color like the yellow because they form gives you the value range which will need dump of this cloud it owns Skype and the reflections of this guy here in the water. So that is a word or that cannot eliminate something which is reflecting the light is a piece of Bonnie's on syllabus. And I'm going to paint the sky now. Probably the lightest color in this painting. You don't need to bend this num divulge piece of paper and on again, whatever they wanted to print it on. Again, being on a small size lake, what I'm doing it is maybe pull back 2 ". And then this one, bushel doubt. Glass columns. A jar receiving the light, though it won't be as bright as this. Just give me an idea of where the light is coming, which is behind this mountain. So it's sunset. A sudden has already set, gone below the horizon. And this is what we see. I think that's enough off of venues study or Wendy's sketch. This gives me a value plan. Accordingly, I can paint this painting embedded in meaning income Barnard. And on this screen, let me zoom in on that. It then C Now I need a value sketches. It's a very good exercise, wellness study before you actually get into painting with colors. And that saves you a lot of challenges. It saves you a lot of going back and forth and gives you the confidence of getting the painting and right for the first time. So maybe the habit and see you are willing came true or not. So I will see you in the next video where I will paint this on a larger piece of canvas using oil colors. So see you there. 4. Underpainting - Sunset Vista: Welcome to this video. In this video, I'm going to first draw the basic shapes, or large shapes using an acrylic color to have some underpainting on this canvas so that it's easier to lay in the colors later on. And then it also gives me a background so that if some ideas are left unpainted, then also it doesn't matter if this color when shine through. And what I have here is a linen canvas. I've taped it to the board. I have some colors here. These are all colors, but I explain them later on what they are. But right now I'm going to just concentrate on painting the big shapes. So to start with, the horizon line will be somewhere here. I'm just taking the rough measurements now. That is a tree which will come here. The largest tree will be only till this height. So it will be something like this. And then there is this foreground here, which is in shadow, but it's still different than the tree. And then there is another tree on this side. I'm going to make it smaller. In size. Be something like this. Here. Now. There is this in ER where there is some water here and this is ground. And then that is an under either reward or water body. And then that is drawn on the other side. And this silhouette. We can see few highlights of this color, of the reflected color. This tree also. And then they, that is there are these greens. These add anything to large, decline bys. And then there are the clouds here. These clowns have red color from the onset time. This is a sunset scene. This color will be the base for that color. And that is a cloud here, don't so and the three is in order and the three is on so dark in color because it's against the light. I don't want to fill the whole thing, but I just wanted to get an overall value structure just to give me some base to work on. This will at least give me some hints of where each shape should be. And that is this cloud here, all this clouded in shadow. Under painting. Writing, this really helped me a lot. And so the buccal area is somewhere here. Because of the bright light, the Blue Mountains and the reflected light on this surface of the earth. And all other things are supporting actors. And now I think I can wait for this to completely dry and then start laying in the orange colored. In earlier days. Artists used to paint this also in oil with lot of turpentine. But I don't use turpentine because it gives me a headache. So I do this in acrylics or that it quickly, it dries. And then I can lay in the colors. You can do it without this also, but this kind of gives a nice base coat to work on. And it makes things slightly more easier. When you paint. 5. Color Block In - Sunset Vista: Welcome to this video. In this video, we're going to paint the first layer of all the colors here. And I had in the previous video, I had painted this accurately color. And you can see that it's completely dry now. And I can start laying in the color. So as I mentioned, this is a linen canvas. I've taped it to the board. And this is my glass palette. I have Titanium White, Ultramarine blue. I'm going to take an out this, but I will be using cerulean blue, yellow, ocher, chrome yellow, burnt sienna. And this is crimson. And this is some color which is remnant from the previous printing session. Can get rid of that. Okay, so let's get started with mixing the first dark, which is for these trees, and then work into plying other colors. I'm going to keep this color slightly tin. I don't want to make it too dark. And the liquid I'm using for thinning, the color is pure linseed oil. There is nothing else. No doubt pentane. And I'm going to now try this color. Yes, seems okay. And let me indicate the trunk first. And then bring these branches. It's going to be quite wide here. We don't see the bottom of the tree or where the trunk goes into the ground. Because there is a hill sort of thing here, which is obstructing our view. So at this place, also, the foliage is quite wide. And I'm using these flicks too, kind of indicate the branches and the leaves. And let me do it on this side also, it's slightly tricky here because I'm right handed. So I wouldn't get the same strokes as on this side. And it's a three-dimensional thing. So there will be some leaves or branches coming towards us also. So I have to be cognizant of that. And that's where these the tree trunk won't be seen because it's really be colored by the branches. And now do the debris. One the top here. I think that gives the impression of this tree. You can see that I've left a lot of holes in it. I haven't painted the whole thing. That's because we are able to see through this. And whenever I apply this color for the mountain, I will be applying it here also. So that will kind of get the feel of the three being hollow structure and not a cutout of some kind. More of this color. And I want some branches to appear on this side, which belong to one other tree, which we don't see here. Something like this. And that is another three here. Again, the drunk. And here are the branches. So that gives me the dark shapes. All these trees at least. And I can now move to the next darkest, which is going to be the trees here and the mountain and so on. But I think because I have this color here on my brush and just instead of completely cleaning and washing it, what I will do is I haven't used the same brush, continue and use some of the yellow ocher here. And then this, because this is also in shadow, it's not in lot of light. So let me lay in this old so I don't know if you can see it in the video, but whenever I apply, when I'm applying this color, you can still see this red peeping through. And that kind of unifies the painting all over when the colors are applied. It's the mother color. So using this as the base is one way of unifying the painting and getting color harmony easily. Than other methods of achieving color harmony are using a limited palette, like what I'm using. So that means each color is dead in all the on the shapes to some extent. However minor. And that kind of unifies the painting. While use this dark in some places just to create some undulations, some variation in the color and so on. Now let me mix the color for the ground again and continue with this color. Is that I'll make it more desaturated and lighter and slightly more bluish. White. Also from here. I'm want our wedding very light, desaturated green to go here. It's sunset times, so none of the colors will be very saturated, except the colors in the sky on other colors will be muted and dark. We make more of this. Can be even more. Yellowish and lighter. Another way of starting this painting would have been painting from back to front. So this guy would be painted first, then the mountains, then the mid ground here, and finally the trees that would have also worked. There is no formula for painting. You have to see which one, which method works better for you for that painting. Just have to know different ways and then choose the one which suits you. And that painting and that time. That painting. It's not like once you learn the formula, it's there and every time you have to use it doesn't work like make k. Now, this color will be even lighter here because it's much more distant. So much more bluish and then lighter. I think I can go even lighter. And what we are doing right now is lying these colors in all the shapes and trying to get the blocking done so that every shape in the painting should have its color by the end of this stage. So that in the next stage we can concentrate on being deemed the details. Even more. Lewis. I'm using the same brush here just to kind of bring these colors closer to each other. Now, I'm going to paint a few trees here. And they want to be darker version of this color because the trees are upright and that's why they will be having a darker value. What I will use a middle value between this dark and this light. So let's see. The color we mean is kinda bluish, but it's not very dark. Let's see how this looks. Can make it lighter and bluish, more, even more bluish. Something like this. When I'm not fiddling around with it. Lot right now. Leave it at that and I'll paint the mountains and then come back to these smaller trees, smaller shapes. For the mountain. I will just wipe. I'm not even washing the brush, I'm just cleaning the brush with the rag. Whom get out. Maximum color. What I can then use the same brush. Maybe clean it a bit with some oil. Let's start with white. You can see that one mixing light bluish colors. I'm using white from here and not here because this is more warmer side which had this yellow and ducks. And that's the reason that's the way I can keep the white untouched. Doesn't work always, but that's one of the weights. Let's see how this looks. And I'm want another one which is much darker. I think this will be the color for this. And you need a darker version. Or the mountain which is closer, just slightly modified with the ID. And this red is very intense. Because it's crimson. Yeah, this looks good. Now you can see that this tree needs to be much darker than what it is. That's how working with values is working in steps. And it's not like you apply this color and it's final. That is always pulling and pushing inward. Painting the sky hold now. Okay. Now I'm in pain, even darker version and use it to paint. Few trees are the small he logs in front of this. So it'd be kind of here. Some blades can be darker. Iq. And till the stage of competition you are kind of looking at the painting, looking at the reference photo. I mean, but after that, what do we should do is not look at the reference photo and just paint what the painting needs you will. You can then use your artistic license to even further modify the scene. You should, of course, use it even during the composition stage, but even you can continue doing so at the painting stage. Also. Otherwise, the painting tends to become a copy of the photograph, which is not a good thing. At least, that's what I think. Now let's get to the distant mountain which has a lighter color. And let's see how this looks. And I don't want this to be the center where this mountain. Process enabled the other one. I think that'll have to do something about it. But let me first fill in the color here. And I don't want this age also to be very sharp because it's at such a distance. So now coming to modifying this mountain slide please, so that this crossover doesn't happen here. Have been the into the distance like this. Okay. Now it's time to come to paint the sky that I will use a larger brush. And then start first with the red color or the clouds. Because this is a sunset scene and these are the bell jar. At least saving the last light can add a method of white and more yellow also. The red crimson is very intense. So we have to make sure that we added very, very cautiously kind of overtakes or dominates all of them colors. And I want some pinkish color also. Now we're going to see that why it's becoming very easy. One we will apply this color because this color and this color are very close to each other. So even if I miss a step on miss a point, it's not going to be problem. Now I want to undo is I'm in first applying the color here, which is one to be a blue. At least a version of glue, if not, it will completely be very, very light. And I'm going to add a tinge of yellow ocher in it. So then slightly warms up. And let's see how this looks nice. It looks good. Mix more of this more blue, hint of yellow ocher. This is even better. And I'm not worried about matching the first blue with the second blue because it's anyway going to be a sky. So sky can have different colors. And it's not, one cannot apply an auto. Mansi come back to the event. And one to avoid this kind of banding which has happened to your design into some changes in the shape of this cloud butting in down. So that closes up here. And let me get some water median. Because that's going to be on better at random for this guy. Median and some yellow. This column. I wanted to use this color here onto. It's more intensity red towards the bottom of the cloud. And more of our lighter towards the top of the cloud because the sunlight is hitting it on the bottom edge. And the top edge is at least going to be much cooler than the bottom edge than just use this color here also. And then this is going to be much darker. Violet color. I want to make this slightly more uneven. Let me come back to the blue. I need more white. And let's see how this looks. Seems okay. As I go up, I will add more blue to it. To make the sky even cool node. This will be the color in the top. Maybe even, even more bluish. Now, a color for this cloud, this is going to be much more dark blue, violet. Adding or deleting some of what a median and white. And let's see how this looks. Looks, okay. And we get that in. And I know on the edge of the cloud, that's why I'm dragging the brush on the edge so that kind of smudges. This cloud might have some of some hints of this color is dragging. Some are on the edge of this. When is the tops of these clones will have this color slake doubled. This is similar to the bottom of that crayon. And why did this cloud will be more bluish, not wildly dish. Some edge here. I'm using now this same brush for the red and water softening this. Let's see how it goes. This is where almost reaching the end of the second stage of the painting, which is the blocking. Before that I need to. And the reflection does suggest water. So the river is here. And let me add some blue on blue violet between suggest reflection. We can always refine it in the next page. This has to be much darker so that this reflection stands out. So let me do that again. Let's see how this one loop. Grab some green. Now this color has become a mess. 910 gold out of college, even in Waterbury in a few places. And suggests some breeze. Let me paint over this and then come back. Now you can see the reflection and read it as deflection of the sky. Again here it was not reading that way. This is n of the blocking stage. To see you in the next video. 6. Final Details - Sunset Vista: So I'm mixing this brown and blue brown, very dark color. Now in slightly lighten it because these trees, which I'm going to paint now are at a distance and just add some of the weight from here. So slightly make it lighter. And again, test this. This seems okay to me. So let's just find a few of these trees. One zone in. And then out of. That is this region which is also dark in value. Because the underlying color is still wet. The moment I apply this and becomes picks up that lighter color and then I have to wipe my brush in-between. A lot of times. This is another green which is because I'm working wet into wet, this is becoming the underlying color is getting mixed. Otherwise it wouldn't have happened like that. And I also don't want these edges of these trees to be very sharp because they are at a distance so they can be blurred. Rebellious, reassure. The less I fiddled with, the better the darkness is retained. And that is a dark line here on So because this is also the edge of the grass wave on the land before it hits the water. And then made out of smaller shrubs. Near the base of this hill, which we see here very close to us. It is creating the effect that I wanted. Yeah. Now I see that this mountain and this cloud has the same value, whereas I want this to have darker value. So what I'll do is let me clean up this brush. So one of the ways I clean up the brush is just to use some linseed oil and brush it in so that I can then wipe and clean the clean the brush. It's easy because I don't use turpentine. Me pull in some other way to clean the brushes. So now let me mix a darker value for this. One to slightly make it grayish, adding a bit of burnt sienna to it. Let's see how this looks. It looks okay. Slight, lighter. This is going to the same value. Some more blue. With brown. Yes. This seems okay. We can go big dark. Yeah. This is perfect. Now I am slowly refining every area that I see. So the next thing would be, I wanted a hint of blue here. So let's try this. In the water. It is picking up some laid down below or on my brush and then using it and do flexion is going to be off. Then scholar on. So I'll have to meet this color in dense here. Because otherwise the reflection seems very weak. Yeah, this is good. No. What do I need to work before I tackle this? I think that loans need some more working. So what I'll do is I'll mix this column and apply it in the main. These things brighter. I'm kind of modeling these clouds in this non gotta read no more in density and rather the tape is coming off here, the sun just pressing it. Use this color and this glommed onto. Now need the data put upon mixing burnt sienna, I'm sorry. Grimm's n plus 1 million plus blue. Some way, dinner. This is mortal for wine. Does this become a bit more? They're nice, shiny tool or alone that rarely in that blame, this color becomes slightly more bluish. And beans that color here also. To some extent. They mean more of this color in here. Who get a better continuity? Yeah. I think I need to darken this. Let's see. I can keep this a bit more saturated than the than this mountain. Yeah. So I'm here. Let me fine-tune these and neutral blur these edges bit more. Can we use this a bit? Because more than the gunner, the value matters. And since this is data again, very close by color at Guinea, was it? Now? I feel, now I need to go slightly, even more NADH. And please turn to talk. Yeah. Soften this edge. 99 can call dotted curve. Near the base of these, please. So will this I wanted to award the monotony of this and this. So I will change this, the shape of these trees. So I've added a few more model and then we'll more breaths here. And to make this look brighter, will make them, they're just ten shapes darker. And so that's what I'm doing. Yeah, looks good. Because I want to avoid the viewer's attention from resting here. It should go somewhere here. And that's the reason I am downplaying this area. I'm making this dark cup should go somewhere here. Now I think finally it's time to add details to these. So let's do that. Well, Dad, I'm going to need a dark color. This color again. I'm going to do is mix it using both these pollutants, that there's nothing in them much. And just get rid of that. Let's meet secure knowledge blue this soon. So one CNO. It looks good, I think. So let's use now a slightly thinner brush and down the line. Okay. I'm just taking this. I haven't added a lot of I haven't added any linseed oil extra on top of what? The color ads that really keep the color taken out and use the brush in upward motion. I think that will create the effect in a better manner. Because these trees have their names growing upwards. That pretty much completes this creating. And please spell working on this one. Now. Let's see if we need to add anything later on. So I need to mix this color again. So I need more. Loans, need more of this color now because I'm paying these two trees and this one is larger. So it's going to be lot more. One could be of color. Slightly warm it up by maybe pulling the cell. We don't want it to be too cold colored. And let's see. And let me restate to the main trunk. Now I can continue painting the branches. This contrast is very important because that is going to give the impact to the painting. What I'm doing is I'm even rotating the brush because I want to deposit the color which is there on all the sides of the brush. And I want to make sure that I leave the sky holds as they are. At least most of them. It will get denser and denser near the base of the tree. Still going up. But because we don't see the bottom of the tree here, where it meets the ground. State. It will progressively become thicker and thicker. In the middle stages of the painting, knee looks kind of on Lee because things out of the edges are not clean. That's where you need a lot of patients to continue painting. And the faith that it will be, it will become better and better. So that's why it's called the messy middle. So stay tuned. Keep working on it. Don't lose hope that the painting will turn out good. Now I'll turn green. I haven't left any sky holds in this region need to add, otherwise it will look odd. Look as if it's a cutout in-order tree with branches. And I don't want to cut it right in half where the tip of the tree is cut into half. So what I'll do is I'll pull that tape here so then we can see it. I just don't want it to compete with this tree, so I'm keeping it slightly lesser height on a shorter, in other words. But looking or that it ends here if I wanted this contrast when it ends here, yeah. This is better now. I need some sky will send this off, maybe a blue color here. And I need it for that Claire Bloom hemisphere here. And, um, greenish color of the ground here. And again now I use this brush to go. This guy old should not have a clean edge and should be Jaggard. Otherwise it doesn't look like a sky Holden. I always make sure that I break it up. Okay. Now I need to walk back and see if this painting needs anything modal. I need to darken this idea because it's becoming like some sheila. Even though I want to retain its lighter quality. I don't want it to be so light, so I'm just brushing in the same color here. But it will make it or reduce the value for the required amount. I can go even darker. As long as it's darker than the tree shouldn't be fine. Make it slightly lighter here because it's catching dated glide from here. Yeah, Tim fits enough. And now it's time to let this painting matinees what sometime. Now remove the tape and see what it needs after it gets the frame. It tink one thing which is kind of not looking right at it. This is too bright. I need to add some orange color to it. Is that yeah. So now let me remove the tape. I don't say this is final painting, but I might correct it. Merge. Let's see. I need the smaller pieces of paper so that the bending and remains on the board. So let me apply that. Just on the edge. You can enable this. So in this stage, I'm reviewing the painting and seeing what it means element or does it mean anything ends? So yes, I will review this painting. You can see it in full brain, even though it's a simple white frame now, it's looking much more cleaner. I think it needs two things. One is I need to brighten this because that's where the light is hitting directly. So I did apply this mix of colors which I used, which is what, a median plus this chrome yellow plus Y. And I think I need to do it in more places. But in addition to that, I think I need to reduce the light mess on, make this horizontal plane slightly darker. So I'm applying this color wherever I see are laid the idea. Now in use. What a median. And could all nano mix of bright lived on the clowns. On the bottom edge of these. Pronounce. More yellow and more of the buttoning then if it's necessary to maintain clean color where you need it and bright because the city mean wet and because I'm painting wet in wet, not waiting for earlier layer to dry. The colored stain will become make our dental mix into each other and then not create that effect which we need. So it's necessarily do take extra care when we need such a bright color. One more change that I want to do is this guy here, and here is appearing to be true. So what I want to do is make it slightly orangey yellow, so that it graded towards becoming blue and blue as we go up. One to take yellow ocher and some white, some linseed oil, any color, which is, which I'm going to lean, Hansel glaze. Technically it won't be glaze because this color is yet to dry and this doesn't have it's not as thin as ablaze. I'm trying to use the underlying blue and mix this into an intermediate color. So similarly here also here not be as pronounced as here. But in the human self, this color, this color doesn't look Alien. Alien in the sense that it doesn't appear anywhere else. And I'll be able to only hear it shouldn't happen that way. Let me again walk away. Walk backwards and see this thing that looks yes now it's much closer to what I had imagined it. As. Does the job Meetings, just some variation in the shape of the cloud. Yeah, that's it. Again, this change. I felt I should do it because I looked at the painting from a distance and, or a few hours and thought that it would be better if the sky was more orange here, rather than pure blue, which it is here. Because the sun has just set here, and then it will obviously have it's orange glow here. So that's what it is about. I hope you enjoyed watching me paint this. I want you to now take out your colors and paint this yourself. Without you doing that, you will not see what kind of challenges this painting gives because it's a plea with very close values. There's no very bright color anywhere here. Even these which you see are not very bright if you compare it to white. So it's a, it's a play with values more than colors. And you will understand this only when you paint this yourself. So I hope you will do that and that will help you gain a lot of expertise. And then I will see you in the next video. 7. Drawing, Composition, Value Study - Blue Mountains: Welcome to this video. In this video I'm going to do a sketch and a value study for the next painting that I'm going to do. And I started sketching. And I realized that this, I had drawn this square and started sketching. And then realize that I want to show distant mountains here, which are snow-capped. And I think this has come apart to inside the painting or the sketch. So what I'm going to do is cut it from here and extend the square on this side. So this is the kind of composition you have to do. All you need to do as an artist. Because not all the things in nature are exactly as we need them for the painting to be nice. So I want to avoid this peak getting in the right, smack center in the painting. So I'm plotting the center. And fortunately this is not in the center. I'm going to make it slightly off center. On this side, not on this side. And think that will be a nice composition. That are the sum of the please here and then there is this short line with some rocks and things. So let me sketch it once again here, and then I will paint it again black and white or below a value study. It is the horizon line. It is the mountain. Let me draw the mountains first. No. I don't want this point to be near the edge of the canvas. Maybe it can push it through late this so that it doesn't become point of attraction. And I want this tree to rise above this line. So minimise branches. And that is a booth or a smaller to be on this side. And that in the small hidden here. This is a very much a rocky shoreline. Yeah. So now I already painted with Payne's gray as my dark and white as my color and make it tonight. So again, I'm going to start with middle value, which is this. And then make it slightly lighter. Water the mountain just behind it. And even then not too far away from each other. So value difference within them will not be very high. There is a small hill, the foreground and the bottom of these mountains that's going to be dark. And we paint. The foreground holds for now. It is, this is the darkest ADL in the painting. And in the vendor sketch also. Now let me clean the snow. And I don't want to paint it completely wide. I want to have a lighter value of this color. This is going to have a lot of snow. And I might make it slightly darker in a few places. And this one being very clear unless I paint the sky. And this guy is also almost the same value. Just a bit lighter. Needs to be lighter even. I would make the snow light-dark in a bit. Before that, let me apply this same color here on the water and on. So I will paint the tree from there and I'm going to paint the tree trunk first like this. And then the branches. It's not a very thick, thickly earliest Greek. And that is a push. Smaller doing their thing like this. And the hilus here, this is going to be slightly more than that. And let me make the snow brighter now. Digging some white around the tube directly, make the peaks a bit darker here. This tells me that painting these mountains are peaks is going to be challenging because the values are very close by and still this has to look like snow. So that prepared me for the bigger painting. This is steep and nothing is there. And if there's no snow here because it's already steep slope, so the snow cannot even collect. So that's, that's the way I lose 30. Let me draw around it. That's it. With this. Now I'm at least aware of what challenges are waiting for me when I actually paint this on a larger scale and with oil colors. So that's the point anyway of the new studies. I hope you will also attempt a value study like this. And also you will join me in the next video where I will be making a painting based on this same scene using oil colors on a much bigger canvas. It'll be most probably 12 by 12 ", whereas this is two-by-two inches. And this gives me enough idea of what it's going to be. So see you there. Thank you. 8. Underpainting - Blue Mountains: Welcome to this video. In this video we're going to paint the landscape on this canvas. This is a linen canvas, 12 by 12 ". And you must have watched the value sketch video, which I did just previous to this so that I get an idea of what I need to paint and what are the challenging areas and all that. So with that, ready, I can now paint a base layer. I'm using acrylic just to get one simple layer of color and also do some drawing. Because I don't use any turpentine. And so I need some base coat on which I can lay my colors and it becomes easier to work that way. So this is the halfway mark, approximately, and this is the halfway mark. These aren't really just to give me an idea. And the horizon is somewhere here. And I want to thin the paint even more because I want the wash to be transparent. And the mountain will go up something like this. So then the second beat is here, end it here. And third big is somewhere on this side. And it goes down here, not here. And it goes out like this. Then the foreground is just double this line that is a list about this line. That is this rocks on the shore. And maybe there are a couple of rocks here. And one more is probably here. And that is one which comes out in the b here. And then there is this short line which goes like this. And then three is here and paint that once I apply a layer of color into this. So I think I would need a larger brush so that I can lay in the color all over the canvas. Because I wanted to even tone. I don't want any ups and downs or darks and lights. You can see that the drawing will still remain there because I had painted it. And it did get a few minutes to dry up. None of this will be directly visible in the final painting. But here and there things might pick out some wherever the final color is going to be thinner. Thing smite. This blue might come out and might make R will give a rather layered approach, which always is much better than a single layer of color because that creates much more interest. This is the base layer. Nothing very precise about this. And now I'll just indicate that something like this, it'll go up or have to shift this peak somewhere here so that the tree can go up here. Something like this. Then there is a bunch of trees growing on this side. You can see how faint this is, but this is enough to give an idea. And then it's much easier to paint on this because we have a base layer already. And it acts as a unifying thing. And I'll wait for this color to completely dry before I apply the oil colors. Because actually contains water until I need it to dry completely before I apply the guidance. And the tree has disappeared. So it's somewhere here. And this peak wind shift here, something. I just don't want this peak to coincide with this center of the painting. That's enough, I guess. Then that is followed to mark this. That is a small hill here in the forebrain and the base of this mountain. And this is on water. If you have seen the value study, then must be already clear to you. Okay, So what I'll do is I'll wait for this to completely dry. And then I'll see you in the next video. 9. Color Block In -Blue Mountains: Welcome to this video. In the previous video, we painted this whole canvas with this blue color and I marked some major shapes. And now I will be mixing the colors so that I can then concentrate on painting and not mixing. And most of this ADR is going to have a very similar color. So why not do the color mixing first and then get into paintings? So that's the idea. I will be explaining the colors which I'm using one-by-one. And right now I'm using Prussian blue. This is Prussian blue. It'd be mixing white to get this color for these mountains. And then I'll explain the all other colors as in when I introduce them. So right now I'm creating a lighter version of this blue color. My ending, WIP. Sometimes I prefer to premix the colors. Sometimes I just start painting as I'm mixed. So it's not something which is hard and fast as far as I paint. I'm going to test this color. I think it needs to be slightly lighter than water in there is right now. But let me test this anyway. Yeah. It means to be louder. May not be so much, but let's see. And I also want to slightly at a news, the chroma. And I'll do that by adding a bit of burnt sienna in it. Not much. But there is enough. I need multiple versions of this color, which is, this is one to one. This is going to be slightly lighter. This is going to be even lighter. Needs to be more. Let's see what it means. It needs to be much bluer. I think the amount of burnt sienna that I added was a bit too much. Yeah, this looks maybe binge. Now, what is your net least we'll need to mix this. We've been adding some linseed oil into that. Becomes easier to apply. And I modify the color for this wire bending because it's very tiny difference. And the third color that I'm going to need is much, much darker when it's onshore less in quantity. This is for the hear you Here. We too dark. It's okay, I guess Let's see. Within all when we actually start painting, the first thing is applying the color for this. So let me start taking this color and start playing it. I might, Let's see. I want, I feel when I replace a bit of linseed oil all over the canvas. The color spread is small, easily. Just like preparing the surface, nothing more than that. Now, let's see how this works. Much better. And paint over this so that no gap is lifted in-between. I didn't make this side slightly lighter. And a few brushstrokes of slightly lighter color, which is this color. Let me get rid of these chunks of color. This simply suggest some high points in, in the mountain when it's getting more delayed. Now let's go to this, which is in the back. Amika, slave labor. Here in any way the three and the bushes will come. So it's not so critical area. I wanted to make sure that the edges between these are not very sharp because of the distance. Now let's add on more weight in this and paint the farthest mountain. And it needs to be here. Only thing is which I don't like is the straight line. So I'm going to modify that a bit. And I don't want this to mimic this, so it's better to have it slightly different. Something like this. Now, let's paint this. And we'll need Mitch newtons in. This. Should be enough. Now let's paint the areas which are catching light. So for that, I need a little bit. Before that, I think it's better to paint the sky. And so for this guy, I'm going to use modify these colors itself. The sky is much more lighter. So I will start with this color and add a lot of white in it. But it's blue again. Sorry, I keep the same. Base color. Can be slightly more bluish. I can add more. She'll be okay. I guess. I have one other world is much more light, which is going to be shield. Okay? Use the same brush and paint. Dillard kind of looks monochromatic painting. Once we add the foreground, you can see that that is more color to it. I'm just softening now. The edges video and I feeling their GU harder. Okay, Now need more white. And I will mix even a lighter color modulator and show the snow. So I need more white. And it's not going to be your way out some little in it. In this, keep this sign. When I don't start with weight and mixing linseed oil so that it becomes easier. Blia, You can see that now this has a blue danger, It's not pure white. You might even practice some more. And I'm going to use the same brush. So ongoing in for a smaller brush and not even washing it, I just need to use it wisely. So let's test this. The light is coming in from this side. So this side of the mountain is in light. These are the first few strokes. And this mom them has snore here. And the font of this mountain. This one onto a has some snow pure force plate me. Yeah. Because I'm painting wet in wet. It's the more number of times I apply the brush. The average the color becomes our two. First, in the first attempt, I'm just making the middle values and then come in with the lightest. So maybe for that, I might use the palette knife with this name. If it doesn't absorb so much, doesn't make so much money. That is the right word. The nine fuel get some interesting texture, which is very difficult to get with the brush. And it's also unpredictable. So you're not actually doing that intentionally. Now let me use the brush to soften the edge. Now I'm using this dark color to add some shadows are ideas which are not receiving, receiving less satellite. So the first layer was an mid-tone. Then we have blamed the highlights. And now what I'm applying harder though, darks. Now that we look at this from a distance, yes, Looks nice. Thing is that I need to soften this edge. Now let me come to the water. And water is going to be almost odd or even lighter color than the sky. So I only use this color and add more white tinge of burnt sienna. And then suddenly linseed oil. Yes. My dad and some dark accents on it later, but let me first get this in place and then use a slightly smaller brush. And I'll make it slightly more, slightly darker. As I come towards the base. Like this. This line needs to be perfectly horizontal. I'm checking even with the ruler later on. Maybe just this color here. Let me do that right now and see how it is. Needs to go up here in a bit. I think I am that if a big knot right now, we'll have these darker reflections more towards the base and less towards the base of the mountain. I'm going to not work on the readings off. This will dominate not first being the remaining portion and then come back here. Let's do that right now. Because once I start applying this, amino might get difficult. So let's take this color. I'm taking a smaller round brush and painting the ripples. There'll be quite flat towards the base of the mountain. And then being much more pronouns as we come closer, even change the value to suggest a slight amount of movement on the surface of the water. Bernard, some Wyche. We look at it from a distance, maybe a few feet away, and just don't get old, are they feed? Because when you bend quite close, standing quite close to the painting, Neil, kind of your vision gets saturated. So it's better to walk a few steps away. And then except this line, everything is okay. So for the listing there and all that. Yes, that looks better. Only thing is I don't have both supplement so that it doesn't look so harsh. And now when even make these darker. I'm using the dry brush. Not too much oily on the in the color. Now let's come to the dark portion. So for that, I need two colors. I need a dark and a light. So I will modify this using some yellow ocher on it, see if I can do that with C. And I said, Yes, I really be able to do it and they just need more white. I guess. I need one. Pull it off by adding the epitope. This is for the shore and the rocks on the shore. And I am in need of dark corner. So on.So ever use this. If I add this color. This is part of the three and the bushes can make it slaved new, more water model by adding this slide. This is what a median I'm adding that will make this color dot of color a bit more warm. And let's see what it looked like. An oxalate? Yes. And let's also test this kind of both. Look good. Much more Walmart. Yeah, this is work. Now I use a smaller brush, smaller as compared to what I've been using. So this is a bristle brush. And let's see how this one. So that is this media which just in, or what I'm doing is spending on bush, which is there on the shore. And now let me paint the largest tree. So I'm going to go this point. And gum known like this. So the trunk goes from here to here? Yes. And then the branches go out like this. I'm trying Book Award. This color getting mixed with the underlying blue. So I'm barely touching the therapists. Let me use a smaller brush tool for us to indicate the branches and then use the flat brush tool. Being the leaves. And the branches are not till the base of the tree. As the tree is two-dimensional, some branches seem to be of lesser length, but they're not, they're actually coming towards us, are going in that direction. That's why they are foreshortened. And all the leaves. Me again, walk a few feet away. And I think this ink and how you'll more tweaks here. Yeah, I think that's enough. Might make it slightly darker. In a few places. Yes. Now let's paint the rocks. The rocks I want the color to PDH. More. One more. Show music, whatever it is. I'm painting the darker side of these at all. And now I'm getting to the lightens, gonads. But love, I mean, let's first being the high notes for these rocks. And we get some more burnt sienna. Warm things up. I don't want to paint many details here that I just want to suggest are rugged shore which has these rocks and pebbles and being sewage are laying here and there. I'm trying to just imagine a few rocks here and then go on bombing them. Very obvious. Now again to down dog, walk back. And we'll look at in, this three needs to be much darker in value. Let me look at this for a few more minutes, and I'll see you in the next video where I'll decide whether I want to make them make this tree and the bush much darker. So I will see you in the next video. 10. Final Detail - Blue Mountains: Okay, so what I've done here is after coming to this stage, I have looked at this painting for quite some time. And what I've realized is that this needs to be much darker and also the shadows in the Xerox need to be darker and the highlights brighter. So that's what I'm going to do. And for that I will start by mixing or dark color. I will purposely avoided this area because it has a slight amount of white in it. I need burnt sienna. This dark color, and lead scarred by a blind. This color here. And then I might start with the smaller branch. And I don't want to be too precise about making each and every brush stroke which are laid down earlier and make picking it up and making it dark. I don't mind if there are few more areas which our add-in which are of darker value, because it's foliage. I'm not worried so much about its accuracy. And similarly, this also will be darker in value. And I might add field doings here. Again, let me walk back a few years. Now this looks much better than what it was earlier. Okay, now let me add some more burnt sienna to this because I want to use the same color, of course modified or the shadow and use a different brush. Because that way, the Brights are, the highlights will become when seem lighter because of the contrast. That's the whole idea. So I may not even need to add later eyelids. Now unlike we walked back again and see, I think this looks good. Just their name, one bull. See the horizontality of this. Whatever you do is modify it slightly. That's good enough. I do in this. A tiny little bush or something just to make give our counter balance. This. I think that's it. I don't want to stretch this any further. I am happy with what I have. Just me see if this needs some connection. I think I'll leave it this way. It's time to sign. And I remove the tape. Let me see if I can sign with this. Yes. It's time to remove the tape. And we'll have the bending. The acrylic which I hadn't applied, was ready thin, so it kind of kept below the deep. And that's why we have this light blue. That completes the painting. I hope you have enjoyed watching this demo and I hope you will attempt to paint your version of this scene and also learn along the way a lot of things about color mixing and color application and so on. And I will see you in the next video, Happy painting. 11. Drawing, Composition, Value Study - Mountain Reflection: Welcome to this video. In this video, watch the time-lapse of the value sketch, which added based on a rough sketch which I had done earlier. And I'm doing this value study on an iPad. You can do it with black and white colors on paper also. You must have seen that in my previous videos. And for no specific reason, I chose to do this value study on an iPad instead of paper and brushes. So this value study gives me very important information about how the shapes are arranged and how are the value relationships between various shapes. Which will help me a lot when I actually start painting this with colors. So I urge you to do a value sketch. Every time you paint a painting. Actually, you should do more value sketches and choose one of those and then make a painting out of it. But the bare minimum is one value sketch for a painting. If you follow this habit, you will see that your paintings improve a lot. You make less mistakes and are able to complete your paintings in lesser time. So overall, making value sketches is very, very important. Now I will see you in the next video when we actually start applying paint to the canvas. See you there. 12. Underpainting - Mountain Reflection: Welcome to this video. What I have here is a linen canvas. And based on this value study, I'm going to make the drawing here and also laying a blue accurately color as a background so that it acts as a base layer. It acts as a background or a mother color and then helps me in actual painting. So I'm going to firstly in the wash and then draw on top of it. You can see that I made this color routine pin because I don't want it to be opaque. This world of dealing background. And I'm using academic because it starts drying and I can start working on this immediately. I don't use any turpentine where I use oil colors. So using acrylics gives me that freedom to thin the paint and apply and then give the color dry very fast. So that's the base layer. You can see that it's very thin and now I'm not too late teen make it uniform. And then I can start drawing on top of it just to mark the big shapes. So before that, let me divide this into t into thirds so that I can lay in my drawing properly. This is here, this is second. And roughly this is the grid which I wanted to follow. So now when I look at the value, study, the drawing, also part of it, I can start laying in the outline for the mountain. Goes from here to here. And then this goes to own and this end goes here. Then it goes down here like this, that is warmed up like this. Then there are the base of the landmass is here. And this portion is water. So there'll be a reflection here, something here. And then there are these trees here. That kind of gives me a rough positioning of different shapes, which I can start painting once this whole thing is dry. So what I'll do is I'll wait for this to dry completely and then see you in the next video. We'll start painting this. 13. Color Block In - Mountain Reflection: Welcome to this video. In this video we're going to lay in the colors in all the shapes of this painting. And for that, I have at any way ultramarine blue, julian Lu, chrome yellow, burnt sienna, and Alizarin crimson. And in this painting, I will be painting all the shapes starting from the farthest objects, object and coming towards the viewer, or as in this case. So I'll be painting the sky first, then the mountain, then the 3s, then the reflection in the water. So that's going to be the overall scheme of painting different shapes in this painting. So let me start first by making the color for the sky in this top area of the painting. This idea, bottom half or bottom 33 per cent, almost one-third, would be having a different color, which will be slightly lighter and more civilian blue. So I'll mix that after I've painted this. So let's get started. And the thinner which I'm using or this colors is linseed oil. And nothing more than that. Adding white and this ultramarine blue and linseed oil. And let's see how this color goes on with this looks okay to me. Right now. It's it doesn't make a lot of difference or you can't see this color very clearly because of it being very similar to the color which is underneath, which is fine. We'll come to the remaining parts of the painting or the other parts of the painting, and then this will become much more clearer. Now I'll start adding some among golf, Bernoullian indoor, this mix, keeping the other components of the color scene. So let's see how this looks. Yes, it looks great to me to start with. And that'll be overlapping at least some part of the mountain here because I don't want any white area. The meeting in-between the loud on the sky and the mountain? No, I'll be increasing the amount of Sydney Julian and also amount of white because towards the horizon, the sky becomes lighter and lighter. Some more white, the color here, and then use the same color here. Now let me mix the color for this mountain. It's much darker than the sky. So I just mix it using a different brush so that the white intentionally doesn't get into this. I need more of a muddy. And this needs to be a bit more reddish. Brownish. Some adding both these colors in this blue can be a bit more at ease and be noticed. And I think it can be a bit lighter. So I'm mixing this sky color into it, which anyway has blue and white in it, which I wanted to add any way. To make this color lighter. Particular, I should add all of this light blue in it. Mixing colors is much more easier with palette knife. It's compared to our brush. Let's see how this color looks. Yes, I think this looks good. I will even add some more blue, but this looks even better. Yeah. Some more blue. Yes, Good to go with this. But now when I mix the colors using this brush, because this brush had already some dark on it. It's going to be modified. So I'm adding more white and blue. Yeah. Some do. Though. The mountain is in shadow, it's not completely black, blue. And because of the ADL perspective and onto that is some haze in the atmosphere. So that's making it not so dark. Can be when bluish. And I don't want the edge of the mountain very sharp against the sky because the moment is at a distance is not very close and so the edge will not be very sharp. I think I can go even more bluish in some places. I can reduce it pays some of the color and add more blue. And on this side, the slope is more uniform. Now, there are some variations in the color of this mountain shape. So that is more brown and lighter version, which I need here. Some brown and some white to this color. Everybody give me something like this. So I can use that. Here. You can see that the value is not very different. But the color is, I can use this color in some places. And wherever this molten is catching some direct light. We are able to see shapes like this which are lit. If we look closer than there are variations. Even here. Here that is some in this area, that is some snow which is leftover. So part of that I'd be using this color because there is some glue left here. I can use it directly. I didn't want this to be completely white. Hence, I picked up the color from death. Okay? Now we come and add some glue shelf. Because the trees are going to come here. There'll be overlapping some of this blue. Before I get into painting the trees, let me add a few clouds. The sky because I forgot to add that earlier. So I'm taking in some blue. This brush is not washed so it has some glue on it. So that's enough to make it not pure white. So let me add a few clouds. And now I get the mean, the edge. But again, I don't want it too sharp, not too soft. Now, I had done some of the work here as I do that before I get into the trees because it's easier to do it right now. There are these verticals with some more brown and by n then I'm going to being vertical or horizontal with darker blue. Because that's where it's not getting light. Neural networks come in with a darker blue. The idea is to suggest that he deals while maintaining its one entity, not trying to break it up into multiple small objects, small chips. Think that's enough for as of now, can come back and add details later if needed. But for now it's enough. Okay. Now let me wipe the brush again. I'm not cleaning the breast completely not completely new brush because it's a dark color which I'm going to mix anyway now again, or dark green for the trees. I don't mind if there is some blue left on the brush. So now I want to mix a green, dark green. Then use this blue or more of the ADA bit of yellow in it to make it green. And I wanted to make it darker. So I can add either this or this. Let me add a bit of red in it. It looks or glue mix. Now, let me test this. This has to be darker, much darker than the mountain itself. So think this is good enough. Now again, take it on the brush and start painting the trees. I don't want to paint in a lot of individual trees. I'm interested more in suggesting words are a bunch of trees. The largest tree are the tallest tree rather is going to be here. And I'm making sure that I don't mix the color too much with the underlying. Layer because then it'll make the green lighter. Some mood of green or yellow, greenish. Here I want dark green color. Some specs of lighter green color. Okay, now let me paint the US that I'll modify this into a much lighter green. The parent a bit of white in it. And let's see how this looks. Because of changing color. And now I need to switch to a smaller brush to show the edge of this morning if I miss this column since earning more brown to it. So that they can use it to show the hinge. That kind of use the sloping land of an edge. 14. Final Details - Mountain Reflection: And now let me paint the color for this. So then I can then paint the rocks which are just above the surface. So for that, I'm going to modify this color itself. And I need to make it slightly more brownish because of the color of the murder under the surface of the water. So for that, I will add brown to this. Let's see, let's meet the pillar. Post. Some brown to the mountain color. A big deal for aid also. Let's see how this looks. I think I need to make it with some water. Brown and yellow on some discolored is good. Yes. Of course they mean what? Many more variations in this. But this is a good startup. Let's start with this. And a bit of white in it. And some Lindsay doin. And I'm going to have vertical strokes being the reflection because it is. When suggests that if flexion in a much better fashion, using the horizontal brushstrokes only. There'll be some reflection of these trees. One that I think I'll use a smaller brush. The color difference in this area is going to be very less. Some value difference would be enough to suggest. Some would wait. For this color. Now let me add some nuances to this flexion. Yeah, it looks good now, let me add the drops. That is a reflection of this, which needs to be indented. So let me grab this brush. And the reflection of the loan will be somewhere here. Yeah. Now, let me grab our light color, which is similar to this second one. If I discarded biggest blue to kill the reductionist. Let me start by painting the rocks here. And we need to take care of, or rather I need to take care right now to paint this. These rocks are randomly. Otherwise they won't look like natural rocks. So there are numbness should be in terms of their size as well as their positioning. And all these rocks need of Diagonal side. So some blue and some burnt sienna should give me a dark color itself is not very important. The value is important. This needs some more medieval. Not getting into painting each rock. Minute. I just want to have a suggestion of that ox being there, which are kind of just demo the surface of the water. And now I need to, I think I need to refine the reflections of on the top surface of the rocks. Use this same brush, smaller brush. And do that. I need more quantity of this color. And I'm taking the support of my left hand so that I can paint thin lines. There needs to be a rocker boo here, also. Then switching to their dark color. We started with this. The light is coming in from this side. So all the even the rocks will have a shadow area on this side and unlit side on this side. As the rock side wary of tin. I mean, they're not very tall. Let's say the reflection or the shaded area is not so prominent. I'm just creating some texture to suggest the vertical lines in the reflection. Very subtle, not know one of the lighter blue this. And that gives me the chance to paint the deflection of this. Yes. Now let me go back a few feed and see how this looks. And if it needs any changes, I'm sure it will need some fine tuning, but let me look at it from a distance. I haven't been to a few more drops here. Switching boom, they're dark color. And I need to just a few or at least suggest feel clean. Please. Clean in the sense the trees which are Waterford, which are not too much into the back. We need to suggest a few of them. Again, walk back. I think I can add a danger of lighter value in the water here because of the direct light. So wherever the water is very shallow, the sundries or reaching the bottom and they're being reflected back. And that's why some places the reflection is much lighter, much warmer, I would say, Until Dark good inch to the land here. And because the light is coming in from here, there will be shadows. They may not be very obvious, but they're dead. They aren't obvious because of the distance of the skin. Too far from us to see the chandeliers separately. I think. I'm done with this. So I just wanted to do a few more things before I call it W1 is I want to soften this edge so that it's pushed back into distance. And I feel blessed for swear. The weight is wider in the sense it's much brighter than under hideous. Just pick up some weight from here. On this side, not be so white because the light is coming in from here and the mountainous kind of blogging it. But I'll hint this node here also. Yeah, I think that's enough. And that's it. I hope you enjoyed watching this video and I urge you to paint this scene yourself. It goes on so that we can learn from it. Because learning will happen only when you paint this yourself. Thank you, and I will see you in the next video.