Watercolor Woodland

1. Sneak peak into the class: Hi, everyone. This is spun to me here I am a watercolor artist who loves to play with colors. Most off my paintings are deeply inspired by nature. Here is one said subject that I absolutely enjoy painting The Woodlands. This class has two projects We learned to paint two beautiful woodland scenes were different compositions on color combinations. In this class, I'll take you through my step by step process to paint each off the projects, starting from understanding pains and color mixes. Easy steps to sketch on discuss basic concept off perspective. Creating beautiful backgrounds with organic transition off colors, painting trees and adding character toe the paintings. We'll also share video a lot of tips and tricks on how to make corrections on alternative approaches for the painting, I have discussed elaborately on alternative colors that you can work with if you do not have all the shades off pain that I have used. So I would say this class is suitable even for beginners and intermediates. Another plus point. You do not have to take all the lessons at once. Since there are two projects, you can take them up separately. I would recommend you to take lamp in the woodland project first, with a basic understanding and skills you learn from Lamp in Woodland Project. You can take a step up on easily. Paint the deer in Woodland Project and in your own time, I'm sure by the end off the class you'll be confident enough to compose your own scene and confidence to create your own woodland painting. For those who are new Here, you can check out my work on Instagram as well. I go by the name brush pain than everything. Without further ado, let's get started with the class, yeah. 2. Materials needed and color mix: Let's talk about the materials that will be needing for the class our 300 GSM cold Prescott . On paper, I would prefer 100% cotton paper. Another important material that will be needing for our classes off course are a watercolor greens. I'll be using bangle watercolor paints on dart philosophy tubes. If you have plans, you can work with pants as well, and I'll be using pains that are easily available in a set on. If you do not have any off the ship that particularly I use in this class, I'll also be suggesting for alternatives coming toe the brush. Make sure you have a T least two brushes, size eight and a size for brush size eight. Brush for row, big washes and size four to make 10 details. If you have a size to brush, it's well and good, so I'm using just these three brushes throughout the class. Then, of course, I have my mixing palette. I'm using a ceramic pilot here today, but if you guys have plastic public or any other ceramic plate, you can use it on, of course, ajar off clean water. So that would be it. The optional materials that you need for the class would be a jelly roll pen. The little pen is basically waterproof whiting pen. If you have any other alternative waterproof fighting, then you can use that. If you don't have any off it, then you can just use a thick consistency off watercolor or maybe wash cause masking tape to tape your tape the edges off your paper on the issue to buy. Clean your brush so that would be it. So let's talk about the colors that will be specifically using for this class. For this painting, I'm using these four colors that is, or propping lemon, yellow, indigo and cobalt blue. So if you don't have all propping, you can use any other light shirt off. Think that you have, like Clemson or murder rose madder. And if you don't have ah lemon yellow, you can use any other alternative yellow that you have. If you don't have cobalt blue, then you can always replace it with the Prussian blue or any other dark blue that you have this blue via using for the interim that the outer in blue color that you can see here on another important pain for this painting is indigo. If you don't have indigo, you can always replace it with pain. Scary basically, we're using into Goto painter darker shade. We mix indigo with remaining colors to get a really dark, popping or dark color. So instead off indigo, you can make Spain's create to get dark shade for the painting that you need moving on to the next painting. Next one is the green peas. For this painting, I have used civilian blue for the sky. Have your stew shades of green for this painting greenish yellow and hooker's green. If you do not have the Spain to can use probably saccharine instead off greenish yellow or any other share off light green that you have. If you do not have a light green doctors as like decision, then you can just mix it with yellow to get a very light room. If you don't have because green, then you can just use radiant green and next, my another favorite ingredient is indigo. If you do not have indigo, then you can use pains create, just as I explained for the previous painting. So these are the colors that I'm using today in this class, so let's go ahead. Andare do some color mixing and some practice session. Let's mix our first set off colors and see if they complement each other. I believe color mixing is a very important exercise, so do not skip this. Mixing your colors and testing them before you paint on your final project will give you confidence and clarity on your color choices. First I'll make some lemon yellow or propping cobalt blue and indigo, which is my first set off colors, which I'll be using for the first project. I do this exercise before all my paintings. Also for beginners, this is a good practice to get accustomed to blending on paper. When you do these mixes, you will find out the shades that do not complement each other. That is, when you mix them, they'll give you a muddy brown color, so a wide using such combos. But my first set off colors are blending really well, and they look beautiful together. Now let's do the same exercise with alternative colors. Insert off lemon yellow, amusing yellow Oka and amusing crimson. Instead, off are prepping. The mixes are not giving me any muddy or brown color, so it's a good to go. I like this combination as well with the alternative colors. So see you guys, if you do not have the colors at them exactly using in this painting, you can always try this color, mixing with the available color shapes that you have and figure out what you want to use for the class. I have my greenish yellow here on the hooker's green here, so let's repeat the same exercise for all my greens speeding up the video here. E. I just love the sculler transition off the lush green indigo is like a constant pain shade that I often used to mix and create Doctor there, Doc Greene. We get by mixing indigo and greed is just my absolute favorite. If you do not have indigo, you can. Alternatively, you Spain's creep. Let's try to get some dark shade with pain story, so he would have got some nice dark green as well. Xing Green and Cobalt Blue also gives me a very nice doctor. You can also directly use these dark colors on the painting. That's OK, but mixing them with undertone color gives it an organic blend in the painting, the whole painting will look very well balanced. So here are my dog green's that have got by mixing green with Payne's gray on green with cobalt blue. Here are all my combinations to which I can refer toa and decide on the colors. This is the best exercise to understand your colors on their behavior. 3. Lets practice some tree sketches: Let's talk about trees We all have drawn or painted trees at some point of time. They're pretty simple. You can just throw one go for the tree trunk and add branches to it. You need not draw a lot of branches. Just one or none is also good enough. Here's another tree with a straight drunk. Don't do scale for it on. Do you just need to draw it freehand. This will look more natural. You can make your trees more interesting by adding many curves, are making them to Covie. Draw basic shape off the tree first and then add branches to it. Here's a simple rule of Tom for drawing the trees. The bottom off the tree is always thicker, and as we move to the top, it becomes Tina coming to the branches. Basic structure you can follow is that they folk just like tree trunks. They are thinner at the tip and ticker. Where the joint the main branch. You can add as many folk ing branches as you. Please just follow this basic structure. You can make them cov on viewership as well. It's okay, cause in nature, trees come in all shapes and curves. Also, you can add overlapping tree branches. They will look more natural. So you see, I have added or tiny branches here and there, which are overlapping and forking. And also the tree trunk at the bottom is take on. As it moves to the top, it becomes thinner. It papers as we move to the top. Even in our second project, I have followed the same on. I have not added too many branches as I like to keep it simple. Let's practice some brush strokes. Try to practice lines, asked him as possible. This can be used for branches and grass to paint very 10 lines. Paint light on only with the tip off the brush. Don't press the Brazil off the brush too much onto the paper. Paid some random lines and curves. Pretty ones. Ugly ones just doesn't matter. Try them all and practice so that you feel confident. Practice to paint the folk off the branch. This will help you for the next brushstroke practice. Hold your brush far from the tip, not near the Brazil's, but made off the brush handle on paint. The line this guy loves you get a nice and fluid line. This will give you much more control over your breast stroke. So whenever you want a paper and you can just lift it up higher similarly, let me show you a cov branch. So I always paying the basic structure first and then are just a thickness accordingly, so the bottom has to be ticker on top part keeper tin add branches want to have the basic shape in place. These are just my approaches. You can always paint them the way you feel comfortable. A tip on branches. Try to smooth in the joints off branches with Gove's. This will make it look more soft with all that we have practiced so far. Let's paint the bigotry basic shape off the treatment first and then adjust the thickness on add branches. If you practice this or maybe practice one or two trees, I'm pretty sure you'll be confident enough to pain trees without sketching and to paint with the flu, adding that curve to the joint off the branch. You can also add these tiny, twig like branches if you feel your trees too simple on by any chance. If you're still are confident enough to paint the branches on the tree. Then you can paint a simple tree like this with just thestreet like branches and nothing too complicated. See you in the next section. Let's begin with that first project. 4. Lamp in woodland- execution plan: before we begin, let me break down the execution plan off our first project. Main idea you need to be clear is basic concept off perspective. Key point here is the father. Objects are smaller on dollar in color, but as you come close, it becomes brighter on Darko. Now imagine you're standing next to the lamp post or near the lamp post and you're looking at the forest. So now you can see that the farthest tree isn't pink, and as you come close, it becomes a bit darker. Toe blue on the closest tree are the darkest that is the closest to the lamp of various. Signing and viewing is in indigo, and that is the closest, and you can see that the size also differs. This is a tiny one, as and when you come close, it becomes a particular. And this is the thickest Soviet painting. This three layers off perspective here. Same color logic goes to the foliage and the ground so you can see it's pink getting darker and the darkest for this project. I'm not sketching the tree so that I can show you how I compose as and when we go with the flow, but you must catch the trees before Hi. I'm using this as a reference, and I have uploaded in the resource section all just force on Sketch it out. Another important for these perspective based painting is that you need tohave, an element in a painting that draws your attention that draws the attention off the audience. In this painting, the lamb post is that element. The bus that just builds an ambience, but you need to have something that viewers eyes latch onto. So once you understand how to paint this ambience off woodland, you can always replace the center element to anything else that you fancy. 5. Lamp in woodland- sketching and background: Let's begin our first project. I'll drop the lamp beforehand itself. I'll place my lamp a little bit to the right off the center, at first drawing the center line so that alignment and height off the lamp is clear. I will build my sketch off the lamp around this line. The screen shot off the sketches applauded in the resource section. You can download it for your reference, or dispose the final sketch and copy the sketch. I have drawn a detail lamb pia. You can also go with anything simpler if you wish. Since the lamp is going to be a salute, you can choose any shape and design you want for the lamp. It change it on at your own touch to the painting. As you can see, the center line helps me to draw the proper alignment the same. The post goes thinner as we moved to the top. You can also draw them badly. That's your choice. I love to add these girly designs. You can get creative here and add your own design, drawing three layer off ground lightly just for your reference, that's begin to paint. I'm going to read the paper first evenly with vertical and horizontal brush strokes. We're going to paint the first layer with wet on wet technique. For those who are painting along, I would suggest you tow Watch me pain first the layer and then repeat. I'll be painting this layer a little quick as so I need to paint and blend colors before the paper dries. Beginning with lemon yellow will build the blend. I'm starting at the big top right from the center, kind off above the lamp in notice. A consistency off pain every time A mixing colors. It is very important. Taking watery mix here as lemon yellow is a bright color and even been diluted. It'll dry up Toby Bright next with flowing consistency off. A propping will paint around the yellow and blend some yellow with pink on paper. Notice how light this pain tous. We need to maintain the slight own around the lamp It if consistency off your pain is not fluid or watery. The colors will not blend Well. Now I'm just taking clean water on blending the border between yellow and pink. Now I'll take some yellow and build the plane from Santo. So you see, I have organic blend. This is why practice session is important so that you get comfortable blending colors on paper. How pink has almost blended into a pale orange. So with clean brush, I'll take something and painted on toe. Have that being color. Don't hesitate to paint on the masking tape. My paper is still wet at this point, but beginning to dry in the bottom. So going forward, I'll make watery mix so that I can easily mix colors on paper. You see how dilute my paint. ISS. We'll take some think and mix between the pink and blue border so that I get a nice blend will follow this approach. The Leggett, a nice organic blend and transition off colors also notice that I'm moving my brush in a circular motion to get the nice transition, adding some more blues here. Now I'll use some indie goto pain back part in the bottom off the painting, and this will add depth as explained in the material section. You can always use alternative colors if you don't have any particular shape. In this case, you can make some black with blue toe get a darker shade off blue to replace indigo. We'll add some Coburn Fluto, my indigo, to tone down their darkness a little and that some droplets to get random blossoms and blooms on top. This will be our tree foliage. Make sure you do not cover all our yellow, so I just a small portion on the top. As we move down, I'm adding random dabs and also leaving space so that the background layer is not completely covered. Now I'll switch to a smaller brush to get smaller blooms so that there is a variation in shape and it does not look too uniform. Mainly at the tip off. The fully is that we have previously painted a prototype here. Bigger brushes will give you bigger blooms, and smaller brush will give you smaller blooms, so use your brushes accordingly. Next, I'll add a little blue toe the pink to get a pinkish purple and repeat to paint the foliage . This is to add layer and perspective to our foliage on top, So basically the pink foliage is that off the tree that is closer to our light source. The yellow ball and this need not be to take or right spread. Just paint here and there. The main intention is to just add layers and don't notice how I'm leaving these gaps so that the yellow in the background are the lighter layer off. The Bagram is still seen, so try not to overdo it on practice control. Now take ticket mix off indigo, and that's, um, Dr Sports here and there again, this is toe act that so by the end, we have three layers light indigo pinkish purple under dark indigo at this dark indigo layer, mainly in the corners off the paper, and try to restrict it as and when you move towards the centre off the paper from beginning . Build this portion we need to paint in one. Go on a little quick before the paper dries. If your paper has already tried after painting the background, then wait for your paper toe completely dry. Read the top area with clean water and paint the foliage again. Same goes for the bottom section after dark earlier. Only if your paper is wet, it's not never border. This is not a necessary step. You will see later on. This part anyway gets covered. Now let the paper completely dry. 6. Lamp in woodland - painting trees: Now that we're done with the first layer, the tough part is done. You guys. Now we just add layer off trees. I'm mixing my pink and yellow in the racial off. Do is tow one to get a helping to start painting my first layer off trees. This section you can paint along with me way have toe pain trees, keeping perspective in mind. Let's consider lamp as reference to define our perspective here. Trees far from the lamp inner distance will be thinner and lighter, you know, because it is far and later because it is close to the light source. Remember the yellow ball as the pain trees closer to the lamp. It keeps getting thicker and darker, painting my first layer. Now do notice that the painters watery and I do not want to paint my first layer with a tic tac mix. Also notice. I do not paint the trees. Still the bottom off the paper. Remember the ground border be sketched earlier. Just keep that in mind and paint only tell the first layer off the ground as we reach bottom off the tree. I drove strokes around the tree just so that the end doesn't look abrupt. A few branches on the top as practiced trees are thinner on the top and relatively ticker in the bottom. You need not add street trees. Always. You can make some curvy as well. It's okay. Toe overlap. Tree branches and also trees need not be equal distant, speeding up a little for the next two trees, just like foliage, will follow three layers off Trees do not paint more than four trees in each layer as it will look a little too crowded and the beautiful background vigils painted will also be lost. Increase or reduce the number off trees in each layer, depending on the size off your paper. For my current size off paper, I say four would be the best fit. Now that my first layer off trees are done, I'll feel the first layer off ground with the same mix off light pink, moving on to the next layer off trees. These trees are closer to the lamp than the pink trees. Hence they will be thicker than the pink trees mixing cobalt blue with a tiny change off are propping toe. Get my next Leo. I do not want it to look to purple. Hence a marrying some more blue so that it looks much more blue than purple and resembles the second layer off foliage that we have painted. Make sure that the previous being clear is completely dry and then repeat the same step off painting trees. These trees will end lower than the pink trees. Don't forget to smooth the surface where the branches start. - No speeding up the video a little for the next two trees. You need not stress too much on painting these trees and branches. Just keep perspective in mind and enjoy the process. Also, you need not add too many branches or anything like that. Just straight. Tree trunks will also do. Keep it simple. Make it easy and the end result will still come out perfect. I'm adding branches only on the top half off the paper. Horton's I Want It to look crowded on the beautiful Bagram that we have painted should not get completely covered, zooming in so that you guys can see up close. The second batch I mixed has become a little bluish, but it's OK. A little variation is still acceptable. Basically, I'll first paint the shape off the tree from top to the bottom and then build up the thickness at branches and smoothing the joints. I will add four trees in this layer as well. Now I'll connect the three bottoms horizontally to define the second layer off. The trump adjusted accordingly to complement the ping clear. Make sure it does not a single straight line, and it has to be baby. Remember that the ground is not flat everywhere in nature. It is uneven. Now it's time to make corrections. The left most tree looks a little light, so I'll darken it by painting on it again. Also, if you have made some are looking mistakes beyond damage control, then don't worry about it. Just add some small branches here and there on top off it, just like what I'm doing right now, Tiny and just to cover up Ordell's. Just leave it as it is. Thing is, once you finish the painting, all the minute mistakes and these odd shapes will go unnoticed, and it'll blend in the entire scene. The big picture. Now we move on to the third layer off trees, the one closest to the lamp, so these will be victories and also the darkest I will be taking only indigo here. The doctors shade in my color palette for the painting and paint the last trees. My previous layer off tree is completely dry. Now. For the last layer, I'll paint only three trees, starting from the extreme left in terms. Off perspective. As we come closer to the lamp, the number of trees will also reduce. So basically I'll be painting to whole trees and 13 which is peeping from the left side off the frame. So it's kind of like 2.5 trees, actually in the third layer. Also, just imagine if we paint four tick trees, it'll just cover the entire paper and the trees in the background will get covered. Now that I have my basic shape off tree, I'll adjust its sickness. Also notice that the color is quite dark compared to the previous Leo, in case your previous layer found out darker than expected. Then there is a hack. You add some black your indigo to make it look even more duck or just simply paint with a paint scraper or maybe just black mixed for the last layer need not be watery as we want it very dark. Also, if it turns out watery, the never mind. Just paint a second layer on top off it to darken it, you have to take a here to paint the last layer off trees around the lamp on the yellow ball of flight concept. Here is when we add a dark element around the light on off colors, it brings out the glowing effect. So even though our previous layers off trees were light and they were not so dark as soon as we add the super dark last layer off trees, the whole painting just transforms. The growing effect starts coming out, which is why I'm not painting the body off the tree on the yellow section. I'll only painting Chris branches on top off. Having said that, it's okay if you paint on top off the yellow section, trying to restrict, if possible, darkening the sections off the tree that is looking a little later, adding my last tree again. I'll just paint out the shape first and then I'll lock in a turn. Taken it accordingly, notice how cov and maybe I made this last tree. You can also try out your own shapes and girls and have fun with it. All these instructions on generating are just my process off painting this piece as students. It does not expect it from you to follow it 200% accuracy. I mainly want you guys to understand my process while watching and painting along. You are allowed to deviate, make mistakes and try to cover them. Hump with all the hacks and trips I suggest so this is basically no stress and only fun part. Now let's paint the third layer off the ground. Since shape and position off, my trees are defined. I'll just fill the left of a portion below the previous layer with a watery mix off indigo . Later. Once it dries, I will darken the bottom off the trees again. Let's talk perspective for the foliage. The father things are usually out of focus on blood, which is why we painted trees lighter and also repainted blooms for the foliage. Remember, but as become close, the foliage will get clearer and focused. So what I will do is at some random brushstrokes with indigo to depict leaves on the last layer off foliage just along the top line. That's it. Next they led some tiny branches. This is optional, have switched to smaller size to brush here for tiny, crisp lunches. Now that the third indigo layer off ground has dried, I will dock in the bottom off indigo trees and smooth. I'll be taking a ticker mix here like the one we used for the trees, and as a result we will have one more layer on the ground. So it just adds beautifully to our perspective, as mentioned earlier, will be darkening the bottom off the trees again, wherever needed. That this we're done with the trees next up, painting the lamp. 7. Lamp in woodland- lamp and detailing: painting the lamp is easy peasy. All we have to do is painted with indigo and add some details at the end. Leave the glass portion off the lamp it and feel dressed off the lamp with indigo. Use dark makes off indigo here slowly and carefully fill the sketch with the color. Yeah, remind again. Do not paint the glass portion off the lamp head with their dark indigo. Beat up the video here for a while because all we're doing is just filling in colors, slowing down the video to real time. Let's at some detailing on the lamp source off light. The yellow ball is to operate off the lamp. So the writer off the lamp it will be light since it's exposed to light and left will be duck. We can achieve this by darkening the left side. Simple, isn't it? Rest off the lamp will keeper dockets. Now I'll take extremely light, watery indigo and paint the glass portion SAS to be really, really light. This is just to depict the transparent class, so a really watery thin layer off indeed, adding the rest off their dark fields. Make sure that the glass section is completely dried before painting their dark parts around it. I'm going to fill the top, lit completely with indigo so that I can show you another approach to depict the light on the top right side. I will show this later on, while adding details with pen adding some stripes again, this is optional. Wait for our lamp to dry. Let's do some damage control. So I see that one off My pink tree got covered by other trees, so I'll add one more. I will bring it all the way down till the blue layer off the ground. This will look cleaner at pink trees only to compensate for tree that got covered, or only if you find any art gap. I think some small branches on the big trees. This is optional. Next, let's add some grass with same color as that off the ground. Use the smallest brush size available to you for grass. Amusing size to hear. Also make sure the moment of grass is randomly in all directions and not just facing one direction and are just few straw grass. Let's not overdo it. A. Mainly adding glass around the roots, mostly tiny and small, sized because, yes, perspective not adding pink Russ cause the pink layer is too far for the grass to be visible from the lamp. As we move to the closest layer, I'm adding bigger grass straw reminder again. Don't overdo the grass. Add only few off them. - Now we are in the final part off this painting, adding detailing with white. If you don't have jelly roll pen, you stick watercolor. Argh, Wash. I'm correcting my line and making it straight with white on. Also, if your glass turned out a bit dark, you can light and aired by using a tin layer off white. Remember earlier I had told I will show you an alternative method off defecting shine on the lamp. So here I'm adding that shine with white. Simple, isn't it, since my light source is on the top right side for all vertical elements have relied highlights only on the right. As explained earlier, left side will have shadow these white lines off highlights are basically metals shining on . My lamppost is obviously made off metal, hence the shine for all horizontal elements. I will add white uniformly from left to right. As I said, even for the post, I will add highlight only to the right side, since we filled the lamp with just one shade off back. Hello. These highlights will bring out the features off the lamp post. I will also add some highlights on few random grasses as well. With this, we're done with the first project. Yea, good going, you guys. Here are few tips on removing masking tape. I know many office faced the problem. We're paper rips off while removing the tape. So here is what you need to keep in mind. Peel off the tape from the side, maintaining an angle off. Say fortified degree. Don't rip the tape off vertically. Also, the paper has to be completely dry while removing the masking tape. If you are impatient, you may use hair dryer to make sure that your paper is completely dry. Are you guys ready for the second project? See you guys in the next section and let's start painting are luscious Green forest 8. Deers in woodland- execution plan and sketch: we have a little different seen here for a second project. This woodland is not Bence. We can see there is a tiny clearing here. This is because there is, Ah, junk off sky that is exposed on the woodland is not dense. So from this section, there is light coming into the woodland. And that's why this section you can see here is light and color. This is like green because that is light falling on it. Rest off the area will be duck. So now let's discuss that plan off execution for this project. Remember the perspective concept that I spoke about in the previous project Apply the same one here as well. I get three layers off perspective here. The light green Dockery under darkest green witches. Either blackard mix off in the go and green. Other than that, we are also learning to paint distinctive Foley, a teacher in this project. As a step up from my previous project, I have also added two deals here as a main subject are centered elements you can paint troubled. Or maybe you can paint a lamppost again. That is totally left to you. We followed the same concept again. The father trees here are, Ah, dinner, and as you come close, it becomes bigger and bigger. Sophia maintaining two lines of perspective. One is here. The section on another is all the trees that are rooting up from this area. Here we are defining perspective that is a light three and dr here on again in this section . Also, we're applying perspective again with extremely light trees, and you can see it goes, it's very light. Then they become other docker, and there's also a bad doctor tree here in comparison with this, which is almost same color as this one. Next up, let me show you how easily we can sketch this dear. I'll draw a bigger sketch here, similar to this year, and I show you how I compose the body off the deer. And since it is a silhouette, you don't have to bother about too many detail ings, but just get the main basic structure off the deer's body. So I just wrote Govern here. You can adjust the size in your final piece or you on your finding sketch accordingly. So first I'll begin with the body off the deer, so it will be oval in shape. I cannot tell you how we longer did. It should be. Just make sure that it does not do elongated like this. This is wrong. Just make sure it is close to a circle. But yet they longer did like Howard years. Body should be. This is just for initial structure. So you have one over here. Kind of has a longer neck. It's not too small. It's a bit long, so I'll just depict the neck with a life. Draw a triangle for the head. This is my main structure now. I'll smoothing the edges accordingly. So this is my head. I just, you know, make a call for the head and join it. Just smoothing the edges on top. Now from it off this triangle, I'll just connect the do the top off the body, similar living the other and I'll connected to the lower body. Now the deer's body is not just like a bump over here. It kind of transitions from, uh, somewhere like a tiny bump your in the bottom and then it goes up again. So you see this desert depression here and then continual. So basically, my overall became a little too big, but I'm adjusting it accordingly. You know, I'm just adjusting the size off my deals. Body No. Next comes the leg for leg. What I want you to do is just imagine how it is standing so that one leg goes back, another leg goes front. So this same year, one leg goes back. Another leg is for the so. What I'll do is I'll just connected. Legs usually go something like this. You know, it's tickle your and papers in the bottom. Similarly, I lived with the front leg on. Now you don't have to worry too much about the food. Just make sure that it's long enough and next, What you can do is you can always paint some grass around just to award all their details are This is usually salute and you can see that the legs are almost in the bottoms or doesn't no matter too much. Now that you have this, next is a B. Next will draw the years parentless. So whatever you have these extra lines, the ones that are coming out off our means get, you can raise them. So what happens is, you know you don't really have to do too much off detailing. So when you feel colored inside this basic sketch off yours, it kind us. You kind of get the silhouette easy, isn't it? So there you are. You have your deal. So now when you do the sketch, you can decide on the size off the neck or on size, off the legs, everything you can build up around around these over shape. So this is an easy vato, brother. Do you? Now I'll also show you how to draw this another time. Here. This is just for your reference. So it's looking down. So I have its body. Then I have the neck that head. So I just do the same thing. I'll connect this to their toe in this to the bottom under depression and then the But being legs, since its animal is in the far distance or doesn't matter too much accuracy also is not expected. Especially when you're drawing small and then you just smoothing the edge off the face. You have the use. Yeah. Did you go? They have. You do so. This is a simple way how you can composer body off the deal, so let me recap again. It's an oval ship size off the neck and then, Oh, triangle. So this is a basic structure. You have the legs and then bill your body around this. 9. Deer in woodland- background: Let's begin with light sketch. I'm drawing the boundary off the tree foliage here. The upper section will be dark colored on close. In terms off perspective, the lower one will be the lighter one. This will be our boundary for the ground on dime, Also marking the section which will be light Green remembered. We discussed earlier in the plan that clearing, which will have the sunlight earned the section which will be light. I will draw the trees. Now I'll only draw the closer trees. The father trees are small, so no need to sketch it as such a zen. When we go continue painting, I'll just paying the father trees with the floors in the really tiny on, also speeding up a little here have applauded the sketch in the reference section for you guys to reference sketch. You can see I always draw the main shape off the tree first and then add the branches. I find this approach easier. I have already shown you how to sketch the deer in detail in the previous section, so I'll speed up the process here. Advantage of sketching a reasonably small deer is that you don't have to worry about the details, since it's a small sketch just specifying the basic shape. Will just look perfect will mark the outline off their deals with waterproof black ink or on my cramp in, because, as it is, we're going to paint a silly word. Onda. Once we start painting on top off the sketch, it kind off gets a little faded off. So this way it is easier to fill colors later on. If you don't have a waterproof black ink, then just sketch the deer a big darker so that when you paint over it, it is still visible. In the end, let's begin with some pain. I would suggest you guys towards this remaining section first and then replay again and paint along because you need toe paint this quickly before the paper dry. So it's better if you already have an idea how to paint it with cerulean blue. I'll paint the sky clearing first, not on the consistency off my pain. I do not want to paint our dark layer because color transition has to be from light in the center, on going dark towards the edges off the paper. This is how will build the layer a light blue in the center around it, light green and then green going docker toe the edges off the paper. Now I'll bet my paper even leave with vertical and horizontal brush strokes fit clean water and ensure that entire paper is even leave it a painting the blue sky in the centre off the paper. Next I'll take some light green and paint around the blue sky. If you're green is not light enough as the green that I have taken. What you can do is just add a bit off yellow and make it later, nor that the consistency off my mix is flowy and light. I start with my green just on the border, where I stopped painting blue. Some green will automatically blend with the blue, so make sure you do not paint too much inside the blue, and you retain that blue section in between. Fill the remaining section below with the same green. I'll repeat again. Do know that this layer is watery and the consistency is very fluid. Now let's go back to the blue and add some more on the edges off the sky section to correct the blend. If you already have a satisfying blue clearing on the sky section, then you don't have to do this. Step off blending at all. I'm showing this step just in case if you guys need to do some corrections. Also, this is why we take watery mix, especially when we're painting the first layer so that the paper remains wet for a longer time on. We have enough time to do all the blends. Let's begin with. The second layer will add some dark green to my previous light green mix toe. Have an organic transition off color. Now paint the second layer off foliage, adding some blooms off. Secondly, a green to depict the father foliage, which becomes smaller and smaller as vehicle father in the perspective, make sure you do not paint anything on that blue clearing. Obviously, there won't be any foliage on this part, since it is a clearing and the sky is clearly visible. As I reached closer toe the sketch off the ground or the boundary off the ground, I start making tiny green blooms paint the ground with the second layer green. Nor does that I have left a thin line off yellow If you cannot maintain or if you cannot retain that thin line, it's still okay now just blending this green with the previous slightly er off the green. Why I keep doing this layer off blends is because one I want an organic transition off colors, and so I want to keep my paperwork. Next, I'll mix some offered the dark green with indigo in the ratio off to is to one and paint the third closest foliage. Just follow the sketch Onda Filter top foliage first, just like how we added blooms for layer 234 lead. We'll add some more dabs off dark green as well, but just a few I'm only in the corners Now with indigo, I'll dock in just the top corner off the paper, switching to smaller brush. Now let's paint the ground around that clearing patch. I will start with the darkest, shared off green and paint around in an oval shape around the clearing. Next, I will take light green and continue painting till I reached the clearing boundary. So this way we have transition off colors off the light green clearing, which cause darker and darker with indigo, adding some rough, dark strokes here and there. I'll add some more in the go to the top corner off the painting. When you paint the corners really dark, it will make the center a light section really glue. It's a simple funder. An object can glow, only induct. Right Hence, the builder corners dark so that the center can look gluey, just darkening their distant ground line. Just as a doctor in the top corner off the paper, I'll dock in the lower corner as well. With this, we have completed the first layer off our painting. 10. Deer in woodland- trees and detailing: he added the last section off this project. The easy part painting trees you can paint along with me on. Just pause whenever you need to catch up. Right now, I'm making my dark green mix by mixing Hooker's green on indigo. Here, I'll paint some distinctive foliage for this project. Amusing size for brush making random leave like Babs in all directions. Remember, we heard Doc in the last layer off foliage in the previous section with their dark layer. Now I'll add these random dabs only in that part. This is basically the first layer off foliage that we had sketched. Key is, make sure you leave some space between these dabs so that the previously ER is not completely covered. I don't notice. I'm painting these dabs with the tip off my brush and making it denser as we move towards the top off the paper, - adding some more dabs in the lower dark foliage. This makes the entire scene a little bit balanced so that this dark foliage is not only on the talk, but it kindof reduces as we move downwards. Also, let's not get carried away and pain too much off these dark foliage just a small portion on the top and fuel in the sights is sufficient. Iran. It's just adding trees. You guys might have got bored off me saying this, but I'll say this again one last time. So here it goes. Farther, trees will be like 10 and small, and as you come closer in perspective, it will become bigger. I have mixed a really, really watery light. Bring here to paint some distant trees using size to brush, painting tiny trees for our first distant layer off trees. This layer is very far from the point off viewing, which is where the big dearest standing, the outline off the ground is a farthest in terms off perspective. On the ground, closer to the deer is the nearest on. In between these two, there is a green patch off clearing on which we will not paint any trees because there is no pre on the clearing patch. In between these two, the boundary off the ground the distinct trees is visible on these tiny trees will help us depict that distance and bring back to our forest. I hope this breakdown off understanding the perspective for this project is clear. since the first layer off forest isn't a distance, are viewing range will also widen, which is why we will have toe add many trees in this layer, nor just three or four trees. But as we come close to the point off Ewing that Disney other deal are reviewing, range will also become smaller, and the number of trees will also become less do three or four. Next, I'll start moving towards the deer and increase their tree size, just adding one or two trees on the corner off the green patch, darkening the green color as we moved closer. My tree is still competitively 10 here. Beyond this, there is nothing much to explain anymore. Just keep building the layers pain, the trees dark in there as we move close to their deal. Here it is an optional step. You can add some light foliage dab on the second layer off the foliage. Do this only if you feel that the shade difference is not so clear. But if you have got everything right, then just keep this again. This is only a way off making corrections, and I'm just showing it. For those who need to make corrections. I did not sketch these tiny trees so that we have the freedom to depict them based on how our background turns out, it is stuff to erase sketches after painting on them. So this way we have flexibility to make corrections and pain freeze at our convenience. Do notice. A consistency off paint makes that I makes every time I'm speeding up the video just a little so that you can watch me painted three pause and then catch up with the painting. Since we're going to paint many trees in this painting, I feel this will be the best approach notice here. I'm darkening. The green share on my trees are moving closer and closer to the viewing point, so my trees are also getting darker. - Okay ? Slowing down to normal speed. I'm painting the ground here just like how we painted in our first project for my light green tree. I'll paint the ground according live with the same shade off light green. Make sure you do not paint on the clearing patch are just your ground layers. Accordingly, here is an optional step. Since my paper is dry, I'll add some rough texture on the clearing section with the light green. Try to do this on a rough sheet first, Onda only then paint on your final project again. This is optional on most off this empty section that you see right now. We'll get covered by bigger trees anyway as we progress in the painting. So it's OK if you skip this or it's OK when if you mess up a little, but make sure that you leave that the empty green clearing in between light are just in the darkness off green for the second layer ground, because this has to be prominently dark in comparison with that light green in the clearing so that that light green can pop out speeding up the video again. Remember the sketch that we heard drawn for the last layer off the tree that is a bigger trees? Let's just fell color into that and finish off with that last layer off trees. I have taken the darkest mix here that is mixed off indigo and green. At the ratio off to is to one, you can say it's basically indigo, with a change off green in it, - slowing down the video to normal speed painting the final ground layer. Now make sure you do not cover the entire legs off the deer when you're painting the last Leo, adding some quicks off grass here and there. A recap on what we spoke during the sketch. I have left the center section a little bear and painted the trees around that center section. So now step back. Look at your painting and decide if you want to add some more trees. I'm adding a tree to the right corner beside the color off the tree, based on which ground layer the tree is rooting from. Main intention off. This class is not just to guide you to create a beautiful painting, but also to show you the process and enable you guys to compose the scene on your own. I'm showing you guys corrective steps in every section toe enable you guys to do your best , adding some more grass. It just makes it look more natural, and I like to add grasses in the closest layer off the forest. A pro tapir. Adding this grass is is a way to cover up any mistakes that you have done on the ground that is very or connecting your tree to the ground. If you've made some mistake, discovered it with the grass. If you feel you're distant trees, look light or blank after drying, then just add one maximum two trees with light cream. Now let's fill in colors on our very dear deers with their darker shade that we have, which is indigo Are pains grave? Whichever you're using, - I will add few tiny birds on the sky clearing. Make sure that you paint really tiny birds. Practice them on a paper because if you pain bigger birds, it might not look that great. So make sure you pain that tiny darkening the deer again. Also, if you feel the last layer three needs darkening further, more paint on it again, I let some branches on top for this last tree that I added in the end, this is optional, and again, for those folks who like to add many branches toe their trees, you can make the route off the trees of the distinctive by removing some pain in the shape off the tree root by using a clean brush. You can also add highlight and grasses with green color pencil. If you have it. This would be an alternative approach. Our final step. Let's do some detail ing with whites. I will be highlighting the joints where the branches meet, the tree drunk with white, highlighting random grass twigs highlighting the tree roots on one side. I do notice that these white lines that I draw are very light and they're not continues mostly like dotted lines, adding some highlights on their dear as well. I'll just highlight its your and the hind leg, some more on the brand joints. I'm done with whites now, and I'm also not liking the white that I did on their deals year, So I'll darken it again. Also will again paint some grass with green on top off the white highlights so that these highlights look well blended on. It doesn't look toe art. Intention here is not to cover all the white highlights or the white grass that we painted . It is just to blend them into our painting and that's it. Be, are done, removed the masking tape carefully and congratulations on finishing the project. Great job, you guys 11. Conclusion: first of all, congratulations, You guys on completing the class on job. Well done. Please don't keep in mind. The class is not only about creating beautiful artwork by the end off the class, but mostly about learning. And if you guys have reached this video that's checked, please no, it's okay to make mistakes. After all, we all learn from our mistakes, especially when we are learning. I really hope you guys have enjoyed the class on Would love to hear from you and see your project. So please to upload your projects in the project section on Do leave review. It will help me a lot. I'll be posting follow up discussion with color combos. You can try and to paint your own compositions and some more sample project for you guys to try out. So do follow me on skill share to stay in the loop and receive notification on discussions and give away alerts. So, until next time, take care and happy painting 12. NEW PROJECT: Birch tree woodland intro: In this project, paint along with me some birch trees and autumn landscape. We're going to paint this in three layers. That is, the first stop layer. We're going to have a very thick foliage of dark colors. The middle layer, you can see that it is a bit light and we have very sparsely spaced foliage. And the third, that is a bottom layer, will have little bit of greens. Now, this is a painting which incorporates negative painting. That is, these trees, for these trees will leave negative spaces of white. And we'll paint around these trees. And once the background is done, we'll paint on the tree so you can see how that is done. Once we move into the class project, let me discuss the colors that we'll be using. I have been to my project using philosophy or the sea pilot. But basically that I'm using in this project is some orange, yellow, and crimson color, which is to paint the foliage that does these bar that you see, this, you can see some yellow, some orange, and these dark red color that I have formed here is using crimson and orange. I have mixed orange and grandson to get the scholar. If you already have red color, you can use it directly. Then I've used some green for the grass, but pain, these dark patches of birch tree, these patents, I've used a mix of indigo and black. If you do not have Indigo, you can mix black and purple to get some dark dawn. Or if you have binds gray, You can just use binds great instead. Similarly, these branches are also dark colors. You can directly use black or use mixture of indigo and black or indigo and purple, whatever colors you haven't, whatever suits you. Yellow. So this is my yellow. And then I have used some orange. So I'm mixing my yellow and orange here, an LED. And then I'm using some crimson and orange mix to get these dark colors. So what I have done is you can see some crimson and some orange, gives me a real nice bright red spots on the birch tree. I'm taking some purple and some black. These are the most commonly available colors. I have used indigo and black in my project. You can also use purple and black instead of indigo. 13. Birch tree woodland layer 1: Let's begin by cutting the masking deep into curvy strips to look like trees. And getting in random curve because trees are wild and the growing different shapes. If it helps you draw on the masking depth-first and then got the number of strips based on the size of your paper and the number of trees you want. I have pasted eat trees on my A5 size paper. Here is a rough outline of the shapes of my three strips. You can add some thick and thin trees together. They need not be of the same size and shape. For this next section, I will suggest you to watch me pain first and then replay and paint along with me. Let's begin to beam. I'm willing to bend my first layer where Don dry. Beginning with yellow. I've been the dog foliage first and then make some dabs with orange. I will do the same with the rest of the paper for the top and the middle portion of the painting. Nor does that might be mixed. Consistency has lots of water. This is because I want the people to stay with it for longer. You can see that as I progress in the painting, I'm adding labs or blobs of orange colored hearing there and blending with yellow. And you can see that how I'm just taking some water and coloring the beeper by using the pigments that are already on the paper. Please take note that this is my actual base of building and I am painting fast because I want to mix the first layer of colors on paper when the big burden still read. If you find it difficult to Bain fast audio to beginner, then please follow where Don Read technique, where you first read the paper with plain water and then you can just follow the same procedure that I am showing now in the class. Painting the bottom potion, that green, Make sure you mix the green with yellow on paper so that there is a good blend. You can see I'm painting green with vertical brush strokes so that I give the effect of tall grass. Second layer of green will be darker green and only towards the bottom of the beeper. Now I'm mixing some crimson and orange to get dark orange, which is close to red and bending the foliage. This is similar to the foliage in the first project lamp when woodland. You can also splatter some dark color in the middle section. And personally I love this effect. Random labs or foliage on top and splattered in the middle section. Make sure you do not cover the entire yellow background space. Align them dabs such that some yellow background is still visible. Her paper is still wet. Add some dark orange dabs at the bottom as well. Some genes have bottom foliage. Do. You can also do some batch up with their dark orange to the foliage in case you feel that the layer is not dark enough. And the same time you can also add some splat during the mid section. You can do this only when your paper is still wet. If your paper has already dried at this point of M, you can totally skip this step. It's alright here with dark orange and making some more tabs and black though. I'll remind you again that this step is optional. Do this only if you think that your orange foliage is not dark enough? Or do you want to add some more orange? Do it. Make sure not to cover the entire yellow background. What I'm showing right now is just some corrective steps. Now let's wait for our paper to completely dry. The first layer has to dry and we can move on with the next section. Now that the paper has completely dried, remove the masking tape of the trees. Make sure that you remove it with slight intonation and your paper has dried a 100%. The paper might be love when you remove the tape if the paper is still wet. So be careful. Let's make some very late consistency of beans Green, or you can mix a bit of indigo with black. You see how late consistency I am making in the ballad. We are going to use the super light and water mixture of gray to paint the tree trunks. Try this mixture on graph paper to see that it is very light. First paint on the white tree so that the treatment doesn't look super wide and it has a light tinge of grey. Now, when the tree trunk is still wet, take dark mix of Payne's gray or black and make horizontal lines urine there with certain distance on the tree trunk. Since the tree is still wet, the bank will spread and give a nice effect of gray patch on it. This is how birch trees usually look. Repeat the same that all the trees rated first and then add the horizontal light gray patches. Make sure that you are using thin brush for these horizontal lines. If you're using a thick brush, these paint might spread a bit more than what you are expecting. Who's tissue to remove excess paint or lighten the dawn if the Grey looks dark on paper. At this point, I feel that the gray patches are looking a little light. Hence m repeating these stripes. Again. I'm painting on the previously painted green stripes with a darker mix so that it looks darker. Following the same technique, paint olive tree trunks, IB, fast-forwarding this tree trunk section a little now with the same technique, paint the rest of the G's. See you in the next section. 14. Birch tree woodland detailing: Start with the section ones. All the genes have completely dried. In this section, I'm going to paint one more last layer of foliage with dark orange that is mixture of crimson and orange are just red. To paint this foliage, I'm just going to dab the brush on the paper in the form of lumps of foliage or tiny, tiny leaves. You can see these technique in detail in my urban landscape class when I'm painting Bogan villa and adding these fine details of foliage, I will also painful lumps of foliage in the bottom and in the corners. These are just a tiny bushes, are the tiny branches that are hanging out of the tree. So just to form these, I'll make tiny or small bunch of lumps here and there. This foliage with that color ads perspective to the painting. The background acts like a father foliage, which is autofocus. But when we paint something definitely like bees dabs of foliage, it adds perspective that these are the foliage is close to the viewers point and hence very definite and clear. Okay? I'm leaving some gap and adding these four lineages in the middle section of the bending. Later on, I will collect these villages to the tree with the branch. And at that point, all this will make sense. If you notice I'm leaving the gap of the tree and not bending the foliage on top of the tree but leaving the gap and building next to the tree. This means that this foliage is behind this particular tree. But when I've been the foliage on top of the tree, it means that the foliage is in front of the tree. So you'll see in this way, we can also define different bus. But some dark green paint, add some straw of grass and just adding fuel just for the effect of green grass around it. Now that we're done with the foliage, let's add some branch with their dark color. You use binds grey or black dooming these thin branches. Or you can also use the DAG mix I do have used earlier to make the patches. Now, we are going to connect the foliage with the tree using these tiny branches. Variable these branches Dutch the tree trunk and making a little black patch at the base of few trees. This further adds perspective. That is, the trees which are having tweaks in front of stem are farther from the viewing point. And I would prefer to add these tweaks on the trees that are thinner because father trees will look thinner. Adding some more extra branches without foliage as well. These are just branches and I would prefer them to be thinner than the other branches. Okay. Also now that the paper has dried, adding rough textures on the trunk. Okay. Can you make note not to act too many branches and about photo addFive branches for each G, that would be sufficient. Okay. And that's it.