A Comprehensive Guide to Gouache for Beginners

1. Introduction: Wash, a wash is 0. What are these opaque medium which dates back to the 18th century. Many honest instructors, illustrators have used over the years, create their own magic. Today, we are going to explore the medium and create beautiful and magical flora meters. We are going to stock from our basics. And this is about discussing all the techniques with you. The fastest young mixing then is you're blending. And the third would be your lettering. There are three different ways in which I have practically broken the subject of mixing. There are five different ways of planning and there are two different ways of learning. We will go in depth into each one of them. Once we have good idea about all the techniques, we will move on to other tips and tricks which I have learned over these years for working with quash and then creating four different floral meadows. Each of these floral MS-DOS argue in itself, as each of them have different kinds of techniques which we have applied along with it, I would be even discussing what kind of brush marks can be used for planning, for learning, as well as to create or total magic to your flora. In case you are a beginner and want to explore this beautiful medium. Wash. This is your opportunity. So let's grab our supplies as I will be discussing each and every material in detail and then create our own magic. One people with quash. 2. Materials Required: Let's just walk through the medial stack we need for completing the painting. This is Arches, watercolor hot pressed paper. And I would be dividing all of this paper into four smaller box for each of my smaller paintings. As your soap me to wiggle when you are hot press means that there are no greens and because it has absolutist mold, it allows my colors to stay for a longer period of time. This is basically the size of the papal on which we will be painting 26 into 36 centimeters, then you can tactically divided. So it would be somewhere for drown. 18 and 213 centimeter. Okay. These are the smallest set of brushes that you need. One is your angular brush. That has happened. Then angular brush one by orange to crash time, done one liner brush. You can keep also signed some six SCADA brush. Now that is more for more brush. That's one of the reasons I'm not showing you over the world. But if you have any of your favorite brushes which you want to include, 10 new can surely go ahead and include it. If you are not using your angular brush, go ahead and use a filbert brush like this for applying your colors. So fat is also a good way to any of your colors. Keeping a ceramic palette handy. As I like to use simple ceramic palettes for adding. Though goulash colors, always pleasing up my colors. So whenever it is necessary compared to storing it, two jars of water keeping in handy, one for taking all the extra colors and another for just meeting anytime no fresh supply when needed. Routes to wash. This is an absolute normal kind of wash that is available in the market. You can also go ahead with our diesel Gua Sha any kind of Jamie cup wash that history available in your country? It's an hour, $10 that I have spent to buy this. So I think that whosoever is looking forward to buying a wash, go for an absolute stolen quality. Or you can even go paired with simple and not anything which is more high-end like your Winsor and Newton. Or if you are looking forward to actually having something like well-being. So these are two of the high-end brands which many of you might like to have it. But I think this for bigness is perfectly fine and you'll figure it out a lot of techniques by using this. I would be using a post to Carlo for everyone who is struggling with the postal columns and would like to give it a try as an opaque medium who do not want to spend even this much for your wash, that's absolutely fine. Us who are beginners and we want to first understand the medium and fan normally go head and intervention to move around either with the brushes that we buy or eat or even with a wash that the pile. So I would be telling you about the difference between the postal Carlo. What shall we will have a bonus lesson on it. Hence, I think this is a greater possibility for anyone who wants to give opaque medium or tribe, basically, which is what a base status. So your post two fellows oil wash. You can use any offered. Keeping our tissue handy for yourself. This discourse that fellow citizens, lemon yellow, white, light green brown, blue promotion or teal or para, purple, yellow ocher, red, black line. You can also keep our cobalt blue for your use. These are the major Carlos and dress. Whatever is available in your wash set has good to go. 3. Techniques Mixing: Let's discuss how we are going to mix the colors in cosh, one is a blinding water. How you step by supplying the water to wash and mix the color. The second is applying the white to get different kinds of texture and mixing of colors to told us how to mix two different colors. These are the three ways in which we will be doing the mixing with Porsche. I've already taped on my paper and I'm going ahead with my first technique that is squashed plus water. I am taking out some data color onto my palette. And slowly I would be applying water. I have about eight blocks that I need to go ahead and paint and have some tissue and water handy with an Anglo brush. If I go ahead and mix more and more water with wash, you can understand how my quash wouldn't react on top of my paper. If I'm using really thin layer on top of my Paypal, it would get absorbed very well by my paper. But in case you are working with quash and you want a better outcome, then you might have to go width of greeny color, creamy color is exactly how you observe me. I think this color on top of my paper. And I will continue our ending it towards the bottom area. Once I'm done with this part, I would have some amount of water into this creamy. Make sure, and then go one layer lighter. This is mainly for your own experience to try out and understand what is the best mix that you should apply for working with quash. It's always an experience. One can practically teach you what amount of water shouldn't be used for wash or any other water-based media. It's more to experiment and understand. That's one of the reason I have included it. If you closely watch on my brush, my paint is not tripping form my brush. Which means that this is the perfect remain may show which we would need for painting with gouache. As we go lighter in value by adding more and more water, you can see the opacity of the color would reduce and it would act more like watercolor. I am going ahead. I'm fast-forwarding my video a bit so that you can understand how I am going ahead and applying water into my squash and then keep on painting. But this would be an experiment that I want all of you guys to try out before you go ahead with the final painting, it is really important for you to understand how much squash you should pick up on your synthetic brush. I'm using an angular brush, as I have told you earlier, and how the opacity of the color behaves when you dilute it further and further with water. Anytime you want to. Take care of lots basis, always use more wash and have an equal amount of water added to it so that you can cover the entire part rather than going in small bits. That would be one of the important of major techniques that you can always follow at each and every step right now, you can observe that I am adding more and more water. Therefore, wash is becoming more and more ten and it is losing lot more capacity. With that, it is becoming more and more transparent. Again, as I say, it's an experience. You need to try this out and understand for yourself, What does the right mix? What is the right amount of water, how much water should be added, and how you can control the water for your quash. This has been one of the ways in which I have learned how to work with quash and Picasso effectively increased a lot in terms of how I should apply it on the papal. How should be the first layer for the wash? And how I can move ahead with the second and the third layer. Once I have completed this first period of mixing wash plus water, I would go ahead with my second technique and the mixing, which is Major League wash plus white. I have taken out the color as you have seen along with it. I'm going ahead and adding some white. Now. White is just to let you know how I mix my colors, making it lighter and lighter. One value change can be done with the help of adding water. That is what we have done in our first scenario. But when you're working with quash, the most important aspect of using cosh is going ahead with your white. Now, white is usually used for making it lighter in value compared to. When you are going ahead and using water in watercolors. The one important component of quash and watercolor is that the import of what, a base medium, but they have to be applied in a different perspective. Why do I see in a different perspective, both of them happen to fringe requirement and both of them work differently when it comes to painting wet wash or painting with watercolors. Watercolors are transparent, whereas wash is not at all transparent. It is opaque and nature, the opacity of the nature actually is very forgiving. And hence you can apply layer on layers. If you're walking and bears, you have to add some amount of your lighter value, which is majorly lighter amount of guage or less opaque washed in your fourth year and then go over in the second mentor. As you see me adding more and more white. As I progress to the last part of this technique, you can observe the lightest value that I create is almost close to white and the color which is similar to the one that you see with quash and water park. It is opaque and nature. Over here, I create two wells. One is absolutely of the teal color and slowly I add my white dwarf and then keep adding more white into paint. If you observe the first color that I added, what is absolutely close to the teal color. The second one is a bit of white in it. And as we progress towards the right side, you would see more of white coming off and less of the existing. I would take another pinch of white into my teal and then again painted with the color. I am creating an even mix before I apply it so that when I mix my second part, white and do it, I can again create an even mix. And you can practically see the difference between each and every shade of color which we are applying right now. It's quite an experience. And every time I add the white, I learned so much more about the wash. How I can create different set of colors even by using only t and with white. That's the beauty of working with gouache. As I say, only using a few colors, you can practically paint a lot more. You can create the optimal gradients, you can create dark smoke guys. So go ahead and try this out on your own. I haven't fastforward or any house. So take your time and just keep adding more and more white and create these mixes. I'm on the last block of this part or coercion white. Once I'm done with this, we will mix two colors, can create different sheets. I would be taking my sap green or any dark green shade. Along with that, I would be mixing some amount of my yellow. We have tried for us to squash with border. The second is Guassian white, and the third one is mixing two different colors. These are the three basic techniques of mixing, which I have learned over these years. And I would like all of you to try these out before you go ahead with your final painting. This can be really a big break too, for each one of you who has been trying lot with quash, but haven't been able to understand much about this part. So these techniques can really, really help you to sail through even in your own projects. Going ahead and taking some of my sapling onto my palette and then some of my yellow. You can go with any colors of your choice. You can go ahead with red and yellow so that you get create some orange in your process. That's absolutely fine. You can pick up your own colors. That's up to you, what you choose, and how you want to paint with it. I'm mixing some my darker value first over in wash. You can always move from darker value to the lighter value. There is no need of going from lighter value to the darker violet. That's the rule, but we have learnt over in our watercolor lessons. Whenever you are going ahead go with lighter value and then go with the darker value. The opacity of the squash literally permits us to move from the darker value to the lighter value. Whereas the watercolors are really transparent because of which we do not get an opportunity to do that. I always try to go over on my layer so that I do not get any kind of marks. If you want to try this out, go ahead and always do a swatch from top to bottom and from left to right or from right to left so that there are no lines of the brushes that you, also, once you are done with the first part, go ahead and apply some amount of your lemon color into your screen, and then you can create a wash. This way you are absolving right now on the paper. It is somewhat closer to the allopreening which you'll usually so from the palette. So I think these kinds of mixes can all these pre-created, going ahead and picking up a bit more of my lemon yellow into the green and then applying it on the paper. Every time I only take a bit of my yellow and mix it with my green to create a column. While I go from left to the right, you will see how I have created the darker values. And then while you go on the right, you will see how I have created the lightest value. The lightest value and the green would be somewhere between the yellow as well as the green sheet that you have already applied. If you are taking some different color, you will get a collar on the lighter value. On the right-hand side, depending on the colors that you choose. In case you are taking your yellow and blue or red, you will get a vaguely like peach or orange kind of Apollo, why you go towards the right? So everything depends upon the kind of selection that you do for the final outcome. Now this process is really important for you. In case you are even having less number of colors, it's perfectly fine. You can mix your colors to create different shades that you need. You can create differentiates with white, a particular color you can treat differentiates by mixing two different columns. This is one of the major learning Stan, I have in goulash and I wanted to share it all with you. This process is really important and is one of the bridging gaps, I would say, between how you start your journey and wash. And for every beginner, this is really an eye opening pot. As you do get to understand how wash behaves, I cannot practically just show you everything it is to be experienced by you. It's an experience, it's a learning path. It has to be done. When you start applying the colors on the paper without mixing the colors, tell you apply on the paper. You can't practically know how your colors are going to behave. I kept two of these paths real-time, as I really wanted to tell you, how exactly the time you might need to practice through all these exercises. Either be mixing, wash and white, either a day mixing two different colors. Now this part is so much important, so I wanted to stay focused on it and I wanted you guys to really know how you can treat these swatches, how you can actually create different colors, how you get walk around with white. You can even mix three different colors. To start with. You can mix your green, yellow, and white to create differentiates. I would ask you to go ahead with white initially saw that there are no muddy mixes, rest. You might even mix other three colors to create pigments of your choice. Do make sure that you are not going ahead with a lot of colors together. That might give you muddy mixes, which we really want to avoid in this whole process. Limited politics sizes. One of the good exercises that you can always follow for any kind of a painting, whether it be watercolors, whether it big wash, whether people's two colors. Wash is one of the most beautiful mediums that you can come across. Once you start working with it, you can understand it even more. Through this particular exercise, you do get to understand how the behavior of the wash happens, how exactly look and feel of wash is on the papal, as well as how much opaque you might need to apply your wash. A washes really running, then it is more behaving like a watercolor. Whereas if your wash is only sticking to your brush, it might be very tick. In case it is creamy texture. That's when it's the perfect kind of look and feel on your synthetic brush, which can be applied on people and you can get a perfect outcome. These are some of the important tips and tricks which I would be even sharing later on in the process. But do keep this in mind while you are working with wash, it can give you a beautiful outcome. Let you wash, dry out completely. I'm using a 300 GSM arches hot press paper. You can go ahead with either a cold press photo, hot press paper. Hot press paper allows your collar to stay on top of it for a longer period of time. That's one of the reasons I'm using hot pressed paper. You might like to use a cold press paper, which is equally good for wash. And as well as you can even use any kind of awful lot GSM people, like Kraft paper. That's also fine if you are trying out, wash up those two colors. Actually, to be frank, 300 GSM is well suited for watercolors. Wash, post two colors. That's one of the reasons I do stick to 300 GSM, 100 percent cotton, and even applying any kind of a masking auto washi tape works well adapted. In case you are going for a larger sandpaper. You are taped might peel off your people. That's one of the reason I always prefer using 300 years. Some. I'm very happy with how this whole of the painting, or I would say the different kinds of swatches that I wondered has turned out. You can also really go head and try it out. It would be great for you to understand the texture, opacity, how much water content that should be there, as well as the light fastness than other different kind of, I should say, properties that wash has. You can even understand how you should apply your brush on paper so that you do not get any unwanted lines. Hence, I think that we would proceed on to the next exercise where we learn how to blend our colors. 4. Techniques Blending: There are five different ways in which you will be exploring blending. This one also very exhaustive. Have intuited would be you're diluting. The second would be mixin your people. The third would be your plan. So what would be water? Would be adding white. For this lightening effect? I have prepared my Paypal. This is again a hard pressed Arches 300 GSM paper that I've taken and I did take down my Paypal. We'll go ahead with two colors. One is my dark green color. You can go with any color of your choice. I am even taking on lemon with me, keeping or tissue handling with myself and I have already taken some of my color on my palette. I'm using a square ceramic palette for doing this exercise. You can go ahead with even a glass palette if you have it. Anything is good to go. This is a tile effect, which means that I would be applying one small bracket of color onto my paper. And then I would mix some amount of yellow in my green and again, apply it on the paper. So the mixing would happen on the ballot. And story. I would go ahead and apply it on the papal cure. I would say the blending will not be in a manner that would make it look very smooth. But if you go over your paints again and again, book might get us move the effect the way exactly I am doing. I will again add some amount of my yellow into my green and then proceed with this Time effect. It is slow, but if you go over your paints, you can get a very pretty and nice color. And the shades will also not be distinct. But if you follow a complete Tile effect, they will not be smooth blending. So make sure that you go over the space where you have already applied the second Terrell effect with the toward color that we're applying drive. Now, once you have applied the total effect, we would go ahead with another layer of lighter value. As we move from the left towards the right, we keep on applying lighter and lighter value, which means that we add more and more yellow into our green and then prepare or shade as you observe me doing it right now and then adding onto the paper. This is a very simple and easy exercise, only to have to go slow in it. You have to observe, you have to experience it. There are five different ways in which I will be showing you how to blend your colors. You might choose any one that works best for you. That's one of the reason of explaining all of these five different ways of blending to you. You can always choose the best out of it. But to choose the best, you have to practically experience it on your own every time. I'm stressing on to try these each and every effect, it can practically act like a base for your wash studies. Once I tried my quash, initially, I was not happy with the effects. One of the reasons was I did not know the mixing, blending other techniques as well as the tips that we usually have Getting Bosch. Once I have applied all these colors, I would go ahead and chose to wash my brush a bit more. Takeoff most of the green, as I am only left with yellow now. And I would love to add the yellow and blend it well with my background. Once I have applied yellow, you can see how the calories are transforming from the doctest to the lightest value. I have kept the complete process real-time so that you can understand how slowly you go about mixing and working on the colors. This one is going to be way more simple. We are going to make two different blocks to half of the people. You will have green block and on the right side, you will have clicked yellow block. Once you have applied the colors evenly for the queen and for the yellow, we will mix on paper. This is one of the beautiful ways of mixing. I must say the blending effect that you get with this is amazing. But you need to know that there will be some overlap between the colors when you are blending it. One KVL or one portion of movement from your green to yellow will become more lighter or the color that you will have and will not be very gradual like you had intertidal effect. It is mostly just a mix where you get the blending in the middle and your colors do not look very evenly being moved from the Docker to the lighter value. So you can either choose to tile effect in case you want of movement from the darkest to the lightest value. Orals. If you were just mixing two colors anywhere for your sky or for your grants, for your mountains. You can choose to mix on paper. That's again, a great way to go ahead and mix your colors. I always try to wash my brush beforehand and then only apply colors on the paper for the lighter value. But there will be times where you can observe that I have some streaks of green. It's absolutely okay to have it when you aren't doing any kind of practice session. Whereas if you are going ahead with your final painting, make sure either you have two brushes handy with you or else you may have to go over in layers to make it more lemon in color. I always to do Swatches. One is top to bottom and another is left to right and right to left. So that there are no lines which you cannot solve once you complete this block. I think now we have two distinct blocks that is physically needle go head, wash our brush, and then just take a very damp brush, which will actually mix our colors evenly on paper. If you see the blending that we aren't doing in the middle is really even the colors are coming out pretty evenly. They are already dried up. So I am not going to go over it more and more. That would really hamper the whole of the colors. Taking my damp brush again to just go over a few area wherever I think it is necessary and then removing any extra color on with the help of my tissue. I was not really happy with how it turned out. So I'm adding a bit of yellow to make them mix look more even. You can also avoid this step. As you might choose. To go ahead with the tile effect, you might not like to mix it on the paper. I would leave that up to you. It also depends upon the type of quash that you are using. If you are using an absolute professional high-end quash, this might look way more easier to you. But I was not looking forward to actually using a very high-end course for all my paintings as this losses major refocus for beginners or for artists who are in the intermediate level orals, The artist who wants to give washer try. Hence, I went ahead with the wash, which is easily available in the market, and there's about $10. So I would leave that up to you. Which ones you want to select. The better wash you choose. Of course, your paintings would be better as your pigments will be Premium. And the better you are, pigments are better your binders and additives on the better would be your outcome. That has all base being the case, get each and every painting and across various mediums start. I have tried going ahead with a clean blend of one single taller. It is evenly spread over the entire area that I have that I would go ahead with my yellow pig column from the right and move towards the left. This was not a very good way of mixing. I must say. Why as I had a very, very dark shade in the base layer, and when I tried applying a lighter shade over it, it did not work really well. So always use white of the paper to your advantage. I must say that so great to play, to go ahead with your paintings. You can observe how I am adding my yellow. I am not going over it again and again. If you go over it again and again to might even lose the color or the opacity that you get right now. Keep adding the yellow to the middle almost. Then start blending it. This is not one of the bad ways of adding the color, but it might not be the best way of adding and mixing the colors. I might not be very willing to work this way. So this is again, an experience that I would say it's only a blend. You have Vardy, a 100, one layer, and you are going ahead with the second layer for your blending. So whenever it's a layer blend, you might need to only work with time and professional grade wash to get the perfect outcome. We're on to our fourth technique. And the fourth technique is similar to the second technique that we turn. We will apply again two blocks. Both are clean and on the whole yellow. On the left I would be applying the green and on the right I would be applying the yellow. It would be an even coat of my green as well as an even coat of my yellow that you need to add onto your paper. Once you have entered this, even caught off your colors onto your people, we would try to blend it with water. It was not the best way, I must say to work with the waterfront and blending. It gives you different kinds of patches and Tech Show. Once you had to walk up, you will actually feel it once you try it on your own. I have already applied and even core of my lemon yellow on the right. And you can see that there is an even go to green on the left. Now, once this is being done, I would wash my brush completely, take off any extra color that I have on my brush, and then start adding water. This was not one of the best way as I have told you earlier, but again, it all depends on you. You must experiences how it works. It might be a mistake that you might have done in the past, trying to blend it with water. If you try to blend it with water, what happens is it becomes really patchy. I'm adding some more water again and trying to blend it. Water is not the best medium for wash for blending that you can seriously feeling once you had it on the people. And then you try to mix it with your brush. You can see how patchy you'd become sand. It is not what we really want in any of our painting. I did give it intentionally to many of you so that you guys can understand that is not the best tree and you must try this. Many of us have made this mistake. We have taken water and tried to blend it, and it did not work out the best. Working with a damp brush is something else. And working with water for your blending is something else. Damn brush hardly has any water content in it. It is just to mix the column. Whereas if you are absorbing right now, whole of this area that I did show you has become so much patchy and so much texture is dead batteries. So I do not want this kind of a textural when it comes to goulash. Let's move on to the last part of this blending technique. I am taking some more colors, so bringing us villas of lemon yellow. Before I go ahead and add this block, again, I'm writing on block on the left for the green and a block of my yellow on the right. So you add this block, and when you come to the middle part, we would add some amount of our white to blend it. That's the intent over your in. But for our painting, The only thing that I want to tell you in the spot is that do go with your pure white quash for the blending and you can see it would give you a good outcome. But the middle part will become the more lighter compared to what you really want when you go from green to yellow. If you are going with Docker, do a lighter effect, Tile effect as one of the best ways to go ahead with. In case you are going with a small space where you want to show distinct colors and you want a quick blending. Damp brush is one of the best ways to go ahead with it. The last one would be adding the white way you want. There are two distinct colors to get a blended with the white. I would not say this is one of my go-to techniques, but again, it needs to be experienced. You must try the white on the middle part of the paper. I'm taking my pure white goulash and then I'm trying to blend it in the middle. This might not be one of the best options for many of you. That's absolutely good. But do do try Give it a try. That's one of my request so that you exactly know what you are looking forward to, what you really want to do with wash and what you would not like to do with gosh, we should always know what is the best way, but along with it, we should also know where we might go wrong. It's important before we try out any of our final projects. This technique will really help you to Ace through your wash techniques so quickly and understand this medium way better as well as work through any of your projects. I did phosphor frontal process of bit more so that we don't lose out on any further time. And then go ahead and work on the last few tips and tricks, as well as the last technique that I want to show you. Along with it. Let the paper dry off before you peel off the tape. That's really important and go through each one of this technique in detail. It's easy. I just try to work it out on a bigger piece of paper so that you guys know exactly what we are dealing with in future, as well as you can learn so much more through this and it can be applied into any of your future paintings. This is one of the base and I will ask each one of you to go through where catalyst. Just understand a bit more before you proceed with any of your future techniques. Let's go ahead and move on to the last part of the techniques. 5. Techniques Layering: We can explore learning in two different ways. First, by applying our posterior, which would be going from your dilute, the opaque medium and then applying the next layer of your OB wash on top of it to understand when exactly the wash activity, the second week would be applying one single layer was the big medium, that is your wash. And then going over it with your plan, you know, opaque washed medium. We can understand again when your column G activities. I didn't fast-forward this video of good file. I go ahead and add my colors on Sharpies boxes. The first color that I'm adding is having a lot of water on it. And you can see you see also that person is okay. While I go from the left towards the right, I would make the colors more and more topic for my first year in this case. And while I go to the other part of the painting or in, I can see the other part of this techniques. You will see the layering of the first one is completely opaque time, then we will change the intensity of it in the second, I did fast-forward this process to the two week speech so that you do not lose out much on your time. You can adjust the speed of which you're in case through bond. Then again, shift back to your time so that you can go head and understand how exactly or how much time I exactly me to finish off these kinds of exercises and try it on your own. Trying all these exercises is very important because still you try it on your own. You will not get how you can understand the consistency as well as the opacity of the smooth consistency is very, very important in port this medium has well as to control the opacity of the medium, you have to experience everything on your own. You can directly space out, wash from your tube and apply it on the paper. But is that the best way to work it out? You have to try on your own. The kind of wash that you use also actually gives a lot of insight into what the final outcome you get. If you use a real premium quash, your outcome may be way different than if you use cheaper or a student. Great quality quash, as they might not have the best pigments are the best binders and additives to it. So these all things does matter even and wash just a way to matters in watercolors or any other medium. Going ahead, um, I am adding some amount of my opaque color on top of each and every layer that you absorb. On top of my second box, I'm going ahead and applying it. I just wanted to see how the lettering will be one of the best when we keep adding more and more colors, when we keep adding an opaque medium on top of a lighter value, does that give for best stocked up? Or if we are going ahead and applying lesser intensity color, then build that coupon better outcome. So everything that you observe right now is the third box. If you see sometimes the base color is getting, getting activated because of the opaque medium which are applied. Whereas when I apply it on the first small box, the whole of the paints have got absorbed by the paper. One of the reasons of going ahead with the second mirror and this box helps me to get a better outcome as my first year is completely absorbed and barriers know the activation. Things that happens in this case. If you go on to the fourth box that's similar to the third box hand. If I go over it again and again, you can see that there is some amount of blending which happens in respective of the kind of darker values that I go ahead with. The paints that is underneath does get reactivated when I start applying the balance. Going ahead with my fifth box right now and then with my sixth. This whole part that you have done is mostly to check what is the best intensity of what is the best color opacity, how much water, how much smoothness, what kind of creamy mixture you should use to get a better outcome. And at what point in time, your second layer doesn't get reactivated or you're layering doesn't get reactivity. And that's the only thing. We will move on to the next spot. Now, we have already applied them opaque layer of our lighter value, which is majorly my opera. And once I've applied that, I am going ahead with more offline. Blue color over it. Now this is again an experience that I always say you need to came while you paint it, you have to start with a lighter value on the top layer. And like a value, I mean, the color that you have taken, it is to be more water and less with the column. Once I go head on the right, I would keep adding more and more. Wash it, do it. By this, you can actually understand which lead and how much water should be applied on your second layer if you have already applied and opaque layer, I'm adding some more colors to my watery mixture and then I am adding it on though. Wash that is already opaque. If you see you can really absorbed that. This has pretty much come out way better than what we did apply in the first two layers. We will add some more wash and then go over in the fourth quadrant. Once we are done with the fourth quadrant, you can understand it better than what we did in our third quadrant. And in the third box that we added. Once we are done with our fourth box, we will add some more quash and then start applying it on top of your paper. On top of the fifth box wherever apply this. A creamy mix show better spent. I'm going ahead on the absolute right? I'm going but an opaque medium and then I'm applying it on top of the column. So that's not, again, the best way I must go head, but that's my take. But you can see the CC at how your Bosch behaves. Each and every aspect of this painting is different. You might have to experience it on your own before you think that, okay, this is the perfect thing that we have done on. This is the perfect match for this painting. That's my requests that do try it out and to understand what's the best or how your washes behaving in the best way. We can also see one of the last bonus lessons where we move along, walk with our post two colors. Now, boast to Carlos, might not be the best available alternative for you, Bush. But it is when more cheaper than your quash can only do three aspects of your posture colors that I need to highlight. The center light fastness, which we will discuss. Ben me do it with postal colors. And the second bothers that kind of greens or the kind of course material that you usually get in your jars, as well as the kind of pigments that you get it, the additives that binders, etc. So all of this put together might not be the best-case to use opposed to color. But if you want to give it a try, of course, it's an option and that's one of the reasons I've included a bonus lesson for everyone who wants to give this a try as I want each one of you to understand this aspect of opaque medium, which is water-based in a better way, whether it be post, regardless whether it be quash two, we are mostly working with Bosch as it gets more premium, as it has the better outcome. But you can still use anything to your advantage which serves you well and you can create magic of your own. I am now removing the tape at an angle as you absorb. And then once I'm done with removing my tip, just check how we have gone through each one of these. Initially when we did our first block, Let's just go through it again once more. We started with like a washes but back down and once we went to the right, we needed more opaque, whereas my second layer remain the same. That is, it's simple, creamy mixture and we just had to experience how it works on top of the opaque medium and how the intensity of the first year practically impacts the overall outcome of your second bear. That's what it was all about. Whereas in the second case, we had one single color that was applied at the base, which is absolutely opaque in nature. And we kept on changing the intensity of the second period to understand what would be the best outcome. According to me, the I would say the last two boxes are I would say even the last three boxes came out pretty well and they can be easily used for any of your own final outcome. Let's just name it. Then. You can go ahead and just jump on to your pro techniques. Now, pro tips and techniques are always sees very important steps will really help you too. Actually happened Edge on your painting, understand it better. Create magic with Porsche and you can have the best job every day so that you can see received a four door in your future projects. And it can really help you to H2 all your projects in a better way. And even it can act as a base for all the current projects that we are doing in this class. 6. 8 Pro Gouache Tips: I'm going to highlight about and discuss each one of them in detail with you so that you can use to your advantage when you are doing any project within this class or any other project of your own? I have already, they've gone my paper and in total I have about five small boxes. So where we will work on. The first one is always squeeze out the brain freshly from your tubes. If you are using all things which are already some stored, you might not get the same vibrancy and Booleans which you need for your painting. This can be often seen when you are working with quash. So try to often used so fresh, squeezed out of a Duke. And then I want to talk about the consistency. Now, the current rule of opacity and consistency is only possible when you squeeze out the paint from your tube. And then exactly understand how much water you need to add onto it. If you see most of the wash should be 90% and then you should have only 10 percent of your water. You see that from my brush, what cohort? Your wash bottle non-profit. First of all, they are mixed and then it would become something like a small droplet for the wash, but it will not report from my brush. If your wash is dripping, then it's not the best case to walk around with. I only use synthetic brushes if you see all of them are synthetic brushes. None of them have natural hair. If he were not going ahead with your synthetic brushes, then it might be tough for you to walk around with quash. Synthetic brushes hold less amount of water compared to any kind of your natural or mop brush which holds a lot of water and wash doesn't need a lot of mortar. It needs to be opaque, so that's how we will go ahead and use it. I would be using two colors. One is my operand, another would be my bright violet. For this painting. You can choose any two color of your own from our darker value and one from a lighter value, so that we can show the contrast. That's very important when you have to show the contrast. I'm using a very simple brutes through Bosch. It is less than $10, are somewhere around $10 that you get in India. You can also purchase and go for cheaper gosh, if possible. Of course, the pigment binders and additives or pay different and cheaper gouache compared to any other quash that is available or high-end wash that is available in the market, whether it be whole thing, whether it be Wilson and Newton, really high-end and the pigments flow. Amazingly, the vibrancy is amazing. So if you are starting out, you can, of course try with even a student, great quash, that's absolutely fine to go ahead and try it on. I will show you later on the difference between your student grade. Don't go hush, or you can say the washer that is pretty much cheaper in value, around 10, $15 for about, I think go to a 24 tubes that you get. So 1012 tube. So you get to a query for QB center. And that looks really amazing. Whereas you can go ahead with even lower than that. I have shown one painting with post two column, which is around the $5. So that's absolutely fine. The first one is where I have applied lot of water in my paint and then I'm adding on top of my Paypal as up to you. If you go head with a less opaque medium and you have more water into it, it would absorb poorly on the first surface or on the surface of the paper that you apply. As a first-year, it's always a good habit to go head with a lighter version. Then you can see this they see and observe the contrast. When I apply my second layer, even with the similar color and the fruit opacity. And in case you are walking around with a larger area, always take can't even make Sophia Bush and then apply the quash on a larger ATM. Once you are done with the larger ADR, go to smaller parts of it and applied. You will see how I would add detail on top of this layer. So detailing can always be done later, whereas the first year needs to be even opaque, width consistency for your Bush. I would leave that up to you. You want to go ahead with layers for your drum. Larger area or you want to go ahead with only one single opaque layer. Everything that you want to apply in quash will have an impact. If you are going with lighter band, you, you can go over it again and again inverse, if you're going ahead with JOCO values, you might have to work very diligently in the second and the third layer. You cannot go over it again and again. Then it would reactivate the pink which you have already applied. Going ahead. But the third block, in the third block, I will go ahead and apply my half of the eighth year, My Opera and half of the area in my photo, latter half. Once I'm done with it, I will blend in the middle. The blending would be done with the help of either you can do word in on layered manner that I did tell you that as wager leader Tile effect that you have seen or else you can also mix it and blend it with the help of your blending brush. I would say mixing and dining with their pour fuel blending brush would be easier and you can do it very quickly. I have been using my angular brush for most of this. I want you guys to know that this holds water. And that's one of the reason it has become my go-to brush. Of course, you can go ahead with any other fluid pressure or any other brush that is available with you which is synthetic in nature. If you see in this case, I have gone from lighter to darker value. Though it is a choice that you can always make going from darker to lighter value or lighter to darker value. It is opposite. Or you can go from Docker to light. That's up to you, of course. But one thing that you need to keep in mind is that your brush should be completely over with your darker values score. It should not hold any kind of cocoa value when you are applying your lightest value. Or else you might get some streets. You have already seen that happening in our blending exercises. So, yeah, I would say that you should always go ahead and see how you go Heck, going with the lighter and darker value would be great. Go with light and then dark. But there is no rule as such in, I would say Gosh, that you have to move from light or too dark or from dark to light. I would, of course, lead the choice up to you. Then I would say that you can see how I have added this mondo details for the second block. As I did the audio, we would always go head and just work on the broader surface first, then move to smaller areas. I'm applying an even coat of wash right now. Or you could say, I am applying an even coat of wash on top of my paper. Once I'm done with this, I would go ahead and start that. And in some random brushstrokes, this is just to show you how exactly you shouldn't make the brush strokes. Once your paper is dry, then only apply these brushstrokes. Do not just go ahead and apply the brush strokes even before your P4 has dried up. Or else it would be very difficult for you as it might reactivate the paint, which is all good there on the paper. That's one single from that I did tell you. I am again going ahead and applying some more. Gosh, this is basically to show you how your paints usually get reactivated if you go over and over it in your second year. Once you have applied or opaque layer, then if you start making simple and small lines, simple and small strokes, it's not a problem. But if you keep working on DHAP offered again and again and again, it would be very tough for you to manage the opacity and other colors or the color that you have applied in the beginning might also get reactivated. And other thing is to go ahead with your limited palette. Limited palette really helps you to actually avoid any muddy mixes when you are beginning your painting journey, I would tell you to go ahead with three to four colors initially, if you were trying out stories, tell me, of course you can increase your colors. You just know which of the colors will mix or make you more green or give you more greens. So yeah, those things, you can always go ahead and understand. If you see on the right when I drink my brush strokes, Hi, I'm trying to not go over it again and again. Whereas in my second mark, you will see that if I tried to go over on any place called Canaan, again, the Palo, which is measured in my photo, will become a bit. And it might even cause unwanted lines which we do not want. If we have already applied or base there, which is quite complicated nature. Once you are done with this, collect everything dry off and then they will just name each one of them. I would like to label it because that really helps me to get back to these kind of theoretical substance that we have discussed. As well as you can always get back and understand where you are going wrong or where and what improvements can be done. So this is first one which is basically your dilute or earlier compared to what you usually do when you add an opaque layer. So that's how we go about it. Second would be all about adding these smaller details that we have done, covering the larger area for stem, then moving on to smaller details. The third, were they moving from your lighter value to their data value and then blending with the help of your blending brush, which has, I mean, which is basically on damp brush, rather than employing any further colors, are adding more colors into it. The fourth would be all about handing some quick brushstrokes. This is how you can create clouds. This is how you can go about your painting in case you are going in layers. We will walk upon layers further. So yeah, we will be discussing more and more Wendy, get onto the projects. The last one would be how you apply your brush strokes. What are some best practice? 7. Project 1 Mustard Fields: Happy to have you all in our painting. And that is going to be the mustard fields of Fe, exciting journey that we are going to start. There would be four main paintings and then we would be working on one bonus lesson, which I will demonstrate saying posture colors. Yes, I have added everything possible in this class. Hopefully you guys all, they have taken the blending, then the mixing and loading parts of the techniques. Well, then this part would be really easy for you guys. Starting with the mics off a bit of black and white for the sky. Once I have added the black and white for this guy, I would go ahead and pick up some more white and blended with the lighter value. To watch that dog, I'm adding some more of lighter value while I go towards the bottom. It's more of the darker value. And that's how I am going to even manage it better as we progress. Right now, you might also that the color is not liked to watch setup by either pick up some more white wash and then add it on the top KVM. This is my, but Prussia and I would be using this even for my other paintings and future. Right now I'm just blending the top, which is majorly the white that you need for the guy. I think that's it. Once I have that done everything possible, then I would go ahead and make it more darker. While you go to watch the bottom. Any of this kind of blending in some major important part for the sky as I've kept this guy really simple. If you walk on each and every of your wash painting, then practically You will not be left with much of highlights, which should not be the case at any point in time. You should always preserved some parts of your painting that you want to show later on. And that's what I think goes, even for this particular painting, I have kept this guy really simple. We would be working on the fields as the fields have quite some amount of detail that neither had. I have taken very simple yellow colors, whatever was available on my palette. I did not think much while I added the colors, it was majorly my lemon yellow then some amount of my the yellow which is more of in India law and it has a bit of orange in it. And the last one was my yellow or all of these colors put together I will be using for my mustard fields as well as I would mix and match my white wash to create more value. So each and every column, I have always told you that we can create more values while you are working with white. And that's how we are going to create. Even in this case, if you haven't taken the technique spot, I would emphasize on it to go back and take in fact, technique spot as we are going to use very often in each and every painting that you proceed on that you walk around. Keep adding some darker values of the green as you observe me doing it, I'm using my size to escort us synthetic por la brush to work on this, you can go with any synthetic brush of your choice. Just go with a smaller size brush has been working on a smaller sized paper. Hence, you can always improvise on the brush, size, etcetera. Depending on the people side is which you are working on. Except a few brushes that filbert brush or any kind of round brush anytime of flood brush. So all of these different kinds of brushes that we're going to use, those can be changed. Of course, the nature of them can be changed. You can go ahead with any kind of synthetic brush that is available in your country, in your place. Because we are not planning to go with any kind of high-end brushes. It's just simple brushes. Whatever is available with you, you start to work it out. Okay, going with some gusto value of the green and then just typing some lighter value or green. I do call total shades of green, but they head off my white or the black. Amazing way to alter your values. And I think you guys will really find it though well, to walk around with this, as this medium is so much more forgiving compared to any other medium that I have worked. 30. So I must say that this is a must, must try. And I know right now there are so many kinds of wash that is available in the market. Very good price, which is really, really Pocket friendly to you. You do not need to go head width or professional quality paints to get the great outcome that you have already desired for and still create something back. So close to your Haagen-Dazs, Dan make your field or Manchus. These fluorophores are any kind of fighting allowed Congress you want to have on any of your own projects. I know the colors that I've applied for the sky, that has applied for the background as well as for I'm applying now is pretty opaque, can ensure us we are not going to walk around a lot on the sky after this, nor even on the background hands going ahead with the opaque values doesn't matter much. I could have gone better lightened value on the plural fields. But then again, the idea was to make it more fine print. And otherwise I have to go add with many, many layers which I really wanted to avoid us. There's a lot of reactivation of wash which happens once you start working on the next year. Keeping everything in mind, I'm just leaving some white spaces in between where I would like to apply the green wash that you have on the palette. Now this is the dark or light green or any kind of a sap green that is available. Now, holocrine is a bit lighter compared to the color that I'm using. As well as you can change the green color depending on the black that you'll use. All of this put together. I think you are going to have an amazing time as I think this was one of the most beautiful paintings that are created in the whole series. There were so many, I think, different kinds of fields that I rejected and I came up with these. Some of them very really complex, which I did not want to include in this particular class. There are always a lot of failures as always, coming ahead and then going back that I hadn't going forward and going into all of this back and thought and then stepping back every point in time is one aspect that I always, always to, to understand this medium better and how things can work for you in a simple and easy manner. That's the whole intent. Can feed them Wendy work, we have to meet things look more simple. And simplicity can really help you to walk around with any kind of medium. You are working with any medium, whether big wash, whether it be watercolors, whether it be acrylics, whether it be any other medium like oil, which you think you want to complicate a lot, please, please do not do that. Keeping it simple, we'll help you to walk around with this medium, to understand the medium initially, so much better and slowly, steadily as you progress, you will get to understand all the rules and regulations are MSA, all the rules and tips, tricks, shortcuts, everything. Other particular medium where you have to be added. Cans, I would ask you are to be hanging around right now. We are almost to 50 percent being done. Yeah. I think we haven't added anything in terms of different kinds of details on this painting. And still we are almost 50 percent done with the painting. So yeah, it's going to be more and more fun as we progress. Once done, then mix some amount of your white into the green that you already have and then you search tip of your brush status my size two, and keep adding smaller and smaller lines, like the way I am doing right now. Keep adding these monoline side. You have boiled be actually mix some amount of your white into your towel, clean quash, you will get a color like this. You can even make some other green color and get lighter values of bringing as such the way you want. There is no particular shape that I am going ahead with its gesture lighter value of King green shade, which would look a contrast manner on top of the dark green that we have applied. More and more contrast to you add to a particular painting. It would leave you with more depth into the painting. Contrast to sell only be of light and dark for the opaque medium like your wash, you can show the depth, etcetera. See in watercolors It's way more different. And in Guassian, it acts really different. Wash is in-between, I would say some amount of your acrylics and watercolors too. It is forgiving too when extend. But if you have a very, very dark value in the initial layer, it become really difficult for you to walk around. And then next two years, I'm going ahead with simple dots. I am taking three different kind of yellow color. This one is my lemon yellow one is the Indian yellow or any other bit of darker value of yellow that you have in your palate. And the third one is yellow ocher. At least months more dots to show that they are small, small mustard flowers. Most shock these dots will happen in the initial part or you can say towards the bottom, where you have these crosses. I wanted to show it over here as it is really, really important for us to walk around. When we are working with perspective, the things which are closer to us will appear bigger to us, which means more details have to happen on that. Compared to things which are far away from us, Sandel would be really less scope in terms of what we can work on them. I'm using a fan brush to add smaller lines, but practically You will not get any kind of marks on this as I'm using are darker value and darker value will not give you any lines if you try to work on our data value, which is already existing studies and I wanted to show that how of Dakpo value might not create the exact depth and contrast which you really need floor of the oral thing. I will continue working on my foreground and darker mix my colors. Some can be very variable, it is necessary and then work on my few areas. I'm not trying to select each and every area. I would keep some of the white of the initial layer intact and then go over the lifetime value of the yellow with darker values as I'm doing with the yellow ocher right now. So yes, I have told you about that. I have told you about one brush marks you can add. It is a very, very simple access to. It might become a bit too long ago. Initially, that's one of the reasons I've told you to hang in there and just try to add these smart, smart God, it's simple, but it takes time. So that's the only thing I think that human might find the big picture. But with your concentration, I would say that the smaller paper that we have selected, you can sail through it easily. And I'm here to guide you through the entire process. Each and every step vegetable you think that is an NES city of understanding and better yet. So we can work on it more and more. Let's add more and more smaller values or PLO, smart, smart gods, even on a few green areas as being one. Our drum. Funerals to be more visible. So yes, some in the initial called ground paths and some of the area of the background parts also it should be visible in Let's keep adding the darker value of our followed that this majorly my yellow or purple. And once I have added the yellow ocher, I would go ahead and just make the brush marks and no better way if you absorb these brush marks. They are simple, as I told you earlier, but I do know the shape and size of this brush mark. And some of them I do either smaller and some of them I'll do address bigger ones because some of the flowers will not completely were rescued the flowers to close some completely. These are small, small aspects of nature that I keep in mind while I paint the whole lot of chlorophyll b, we're going to weigh more detail as we progress, so do not worry at all. There's a lot that is awaiting you. There's lot more magic that we are going to create. I am pretty happy with how this has turned out. Ten know there was some kind of textures that I wanted to still add on the background, gulf Florida things. Let's go on adding some contrasts to it. So going ahead with my yellow ocher to add those colors on the contrasting side and then blending it with a bit of green that is already there, which we have applied. Once this part is done, we have to move on to painting some trees. Now, small trees and bushes, which I want to add to this part that would make it look even more realistic. And that's the idea, not that realism, but to make it more natural, make it more close to nature. I'm adding some white now into these areas. If you see the greenness now, pretty much subsided, there is lot of blending that we have done with the yellow. Because of that, you can see some parts of premium few areas, whereas the rainbow visible brush marks. And that's what It's the most important aspect of quash. You should not go make your brush marks visible. It should become just like textures, where you find that you are unable to Blender tend to be more. Use your angular brush or use any kind of bought or anytime of your flat brush to walk around. I think that's it. And then you keep painting this. But I would meet him where we have to paint our trees now. I'm going to shade so plain. I have picked up my liner brush bar, sub d says minerals making liner brush. Now this rash might get just case where the brainstem line no crash as to S1. Suffered some damage. I don't know how it happened, but the front part of this brush after one or two sentence I had to switch on, don't mind. Princeton liner brush. I keep lot of smaller brushes with me that really helped me in many of my paintings. I am a person who actually works a lot with the details and details really make my painting look gay more amazing, as well as the painting come to life completely. Once I have added a smaller brush marks, Let's go ahead and think that bushes. You see how these bushes, luke, Ethan, veteran data. As we go about that once we have added these bushes, but then the word just blended with a bit of darker value of Brown. After adding the darker value of brown go head and again, blanket of it with the darker color of green that is existing. Hello. Hello. I did blend my P are good with the background and then adding some of my brush months for my beautiful mustard field. Once I'm done with this brush mark, I would again blended of good with the background. Every time I have stressed a lot on blending and mixing your colors. Mostly I do the mixing on my founded tendon handed tone. The people didn't know few small, small birds in the background sky. One, some of the, some small boats on the background sky. We'll go ahead and just start moving. My paper has painting is completely dry. That's one of the best things. Of course, it dries up so quick and do will be so happy to walk around with it. That's something I've always enjoyed and I love to tell the same to anyone who wants to put this beautiful mean. Can you move the defect in mango? Do not rip it off and just try to make it you see? You? Yeah. I know It becomes very difficult, so go slow. Had to again, I'm just picking up my brush to blend it down. From the top side of the floral middle. Yeah. Yeah. It's it's it's okay. It's done. Absolutely done. 8. Project 2 Wild Poppies: So here we are on to our second painting, as I've already told you, is going to be a simple P50. So let's start by marking our horizon line. And I would take any new column which is available. Do not go ahead with any particular blue. Go ahead with cobalt, turquoise, teal, whatever blue is available with you. And then add some white into it to make it lighter in value. I love to add my white to make it light written value rather than water. That's one of the rule of wash that we have learned. A new technique section, mixing and blending. Of course, all these are very, very important technique and as I progress, you will see me using more of angular brush for these areas. It helps me to pick up less colors and it also sticks less water into it. That's the best part. It's synthetic, angular brush and that's really nice. Some menu have to walk around with something that is quick, easy, and yet you do not want to hold a lot of water on your brush, like a mop brush are like any other flat brush. So those all things mine hold a lot of water which we do not want him this case saddened done. That's why choosing a good brush goods, synthetic brushes, very important. Again, now you don't need create synthetic brushes for these paintings, whatever is available. I think that is good to go since all of these very reliable with me. So I have used my old brushes. I haven't I haven't gone ahead and what anything new for this particular class except go wash back, which I wanted to use pretty much Bruce tool, which is available pretty much globally in India. You can go ahead with Kenny. I would say, gosh, that is available locally in your country. You don't need to go ahead with the high-end. Gosh, for this painting, I have taken out P dollars. One is main.main, all of peanut, sap, green, these kinds of colors on my palette. And I am adding some amount of my way along the horizon line. Once I am done with my horizon, But I would go ahead and start adding colors towards the bottom media. Again. I would like to quickly hide them more and more colors. Sometimes I can go ahead and use a round brush or you can say this is the kind of brush shop which is not exactly drawn but it's not even flat. So the upside of it is of bute, rounded in shape. And it is mostly plaque. It would give you some kind of strokes like these. And so every time mind you go ahead, I would like to show you the exact strokes that works the best for you. And it can create strokes like this wherever you feel. It doesn't necessarily go ahead and use those kinds of pressures that would give you great blending. And since I wanted some textures for this spot, so I went ahead with this brush in GIS. I did not want any kind of extra I would have continued with my angular brush that I already have. So it all depends on the kind of work that you create. It all depends on the kind of things that you want to paint on, etc. I think this is good done. I would start adding some of my lighter green few of the areas wherever I feel it as necessary, make some, some white. And you can see we will create a nice-looking different laws and different parts of the field. This is one aspect of painting fields. Why I say mix different kinds of colors for your field that would make it really look more and more natural. And it would be more like you are painting inspired absolutely from nature. You bring the randomness that's there in nature. You bring the uncertainty that's there in nature. All of this put together you can practically hard something really amazing to your collection. Go ahead and add these kinds of brushstrokes. Keep adding until you are happy and satisfied. I have added pretty opaque color and disgust, fear itself, as I would go head with only one more layer. So I'm not working with many layers for this quash, but mostly you will observe me working with two layers maximum and one or two paintings who might resolve me working on three layers. So when you are working with lesser number of layers, you can go ahead with Pixlr aims. But when you're working with more number of years. I do go with lighter values initially. I mean more watery values initially because that word absorbed really well on your paper. And then you can start adding more and more opaque medium onto your paper. I think that's what I wanted to convey to all of you. Once this is done, then let want to creating some grasses. Keep creating some more tech Chauvet, a vertical tenseness city. Then you can of course, go ahead and hide the grasses. As I told you, I would be using my size two, brush status, my synthetic fresh DO create the Ross's some. And practically, if you are even a Wagner, do give this a try because it is simple, easy, only a few brush movements. Urine there. It might look like an exercise of 30 minutes, but it would not take you even told him and that's mostly it's just that I wanted to explain to you in detail. So I went ahead with absolute real-time video, which can help you to understand how Hi, I'm working with all of this. I'm using a very taking tip of my brush, either an besides to as column Vashti daughter be my size six scholar optimal brush I used to profit. This is sixes caught up brush optimal and it holds a lot of water. But sometimes I do use the tip of it to make some thinner lines than I do, again, not switch on it on my, um, one of the most favorite brushes that as a SCADA size to synthetic Poor Law series. This is absolute synthetic one study you can always use for yourself. So go ahead and do work to your advantage and go with any other brushes of your choice. I would leave that up to you. I have been hydrating it pretty much throughout. My whole of the CDS. Do not allocate that whatever you absorbed from your instructors using go ahead and buy that. That's not the best outcome that you can always get. A P was stopping off whatever you have available with you. Use those brushes for creating your own magic. Go ahead and add these smaller lines. These smaller lines are basically small, small areas which I am creating with the help of my fan brush. Not again, this is just check texture that I wanted to show you. You don't need to go ahead and drop this heavy dive. Are everywhere. One-off that I wanted to create and help you understand how it usually looks in case you are using or you have these kinds of brushes, like a score of anything anytime local fan brush or any kind of other brushes that can create more texture into your painting that this always works to your advantage. So that was the major idea of telling you all of this. Now, I am mixing some amount of my white into color that is green and then applying it. If you absorb, I go really slow. Some places I go on the top, some places I leave it like that. I create a lot of gaps in between. Now creating gaps is also very important. And that really helps us to work through the entire Roslin in a bit. Okay. It looks way more original. It looks as if you have just done this. 10 some, I think these are few aspects which you can keep in mind while you think any of your future projects, it might really help you to get through your RAM. Any future projects, some even pretty easily going ahead and adding some more of my thinner lines for a few of the poppies which DO look longer and they have this long lines that you'll need to add. Once you have added these longer lines, you need to think the poppies, we will be painting it really loose. You will observe how loose it is still. It would act like a poppy and it will look like a puppy m, That's the beauty of working with quash. You do not need to be always accurate. You can be a bit abstract and knew our imagination and still create versions of beautiful flowers, some on your own. And in case you're looking for any floral class which you want to attend, go head and try out. Two of the floral classes, which is already available with watercolors. If you are a watercolor out a star you want to give watercolors, try with Pluralsight, take income. Those are two of the best classes that you can look forward to. One is more detail than one is for bigness where you are going to paint watercolor, florals, and seven different styles over seven days. You can choose your projects, you can choose d1, d2, d3, and almost sold on bases are in the same order of difficulty level. I have already spoken about. My other washed us earlier. So if you are looking forward to create things, wash landscape, I have a class about washed landscape two. So go ahead and give that a try go it is a bit older class from 2019, I must say, but soon it is very much relevant to their day. And I've been using professional wrong Porsche would there. So you might not find so much of theory that you find a way where you can carry a learnings from whatever you have learned over in this class and then you can take that class. I think it would be of real help for anyone who wants to give this beautiful and amazing medium or tribe. I have make stars some more amount of my white and total green that I already had. And now I am going ahead with some of my smaller bugs, which are all the blossom them. You are just adding them for the background. These flowers are already whether they are done, but still they remain not. So remains will always Peter. And to make it more original, as I've always told you, you have to add these, somehow, adding these Stoli to your painting. Once you have added this and other aspects of working with florals of this nature would be to go ahead and keep adding some smaller and loose lines of similar pallor. We have been not changing the colors for our grassland and for the background which we are creating. Grassland fields, whatever you see, every time you will find different kinds of colors for the spiel, for the spot. And we have to go by that. If you are going by that, you can see to secrete some real magic. If you are adding all of these longer, shorter, smaller lines, you can see DCC, so much randomness, so much on crosses and the background foreground. Everything has been treated and so much looks more and more original as we proceed. This has been a victim longer compared to adorn. Different florals which we are going to create. I know there will be one or two projects which might look longer, but they can add so much value and everything so simple. It is they simply broken. They are just spending time creating these lines. That's it. It is just that we have kept it real time. That's one of the reasons you might feel it more elongated. Otherwise, I don't think that there's any reason you're not attempting a small project like this that has so much intent and there's so much that you Laurie, you have seen me using very opaque base there over that. I am going ahead and painting some lines still. You can observe these lines in a better way. We tried some amount of our fan brush technique for creating textures. So that's also done data so much of learning that we had throughout the entire process only. As we restricted ourselves to convey few techniques. We are not getting overboard with the number of techniques we have learned. That's one aspect or you should always note that don't go overboard and try to add every technique which you have learned in the process. It's a learning process. It's a learning curve. It would take some time and you need to get that time. I have mixed some amount of my red into the orange or the flesh color, and I'm going absolutely random violently these poppies. You see how I am I adding these small, small poppies. One of the petals, I'm just jotting glues one of the petals I am adding together. That's how I go about. A few of them will be smaller, few of them will be big goal, as always, nature. And we have to add all of this in a very, very simple and beautiful manner. Keep adding it till you are satisfied, I must say. And then once you plan to leave it, I think that's where the whole of the painting will come together. Get along, hang in there. I can then you can very last. 15 minutes are 14 minutes of the painting and left. And that would really put together everything that we have done till now. Most of the difficult work has been done. It's just the easier part and some detailing which is left dressed. I don't think that you are going to change a lot from here. Hello. Let's add some more general collosum as you also of me and now I'm even mixing some way in-between. It's absolutely fine to do these kinds of experiments. The more you experiment, the more you learn, the more you learn, the more you understand the medium and the more you understand the main him the better would be your future outcomes. Every time I have tried to tell you that everything which you see God practically teach you, you have to go pick up your brush. Things. People who start what you want to make and what you want to do out of this creative thought. Most of you like to be more creative. Many of you want to approach this medium. I'm here to guide you through the entire process, but major push lies within you. If you want to give this a try, just go ahead, take out half an hour from me, should you? And whether it be the morning coffee, whether it be the evening time. I think you can just make it even not on our D, which is really busy and you are busy with so much work, this can really act as stress buster for you. Creativity on an overall basis not only helps us to move through the difficult times, I have seen that, and it has really happy to be what I am today. It not only works as the best for you, but it is one of the places where I find so much of peace. And whenever I am trying to be more happy or whenever I feel that I am just not going up to my potential, I take off my paints and brushes and just talk painting that sit. I do. Sometimes I do create good paintings and sometimes I do make my own mistakes. Everyone does that. It's absolutely fine. You will make your mistakes. You make your own mistakes, you will never understand. By the way, I am adding details right now. Where are we? I love to talk along when you are painting. Has I want to just give away my thoughts. I want to share all my knowledge. I wanted to share my experiences with you guys. So many of you might find some value and at time, DOM may like to even think that way. It has been one of the most amazing, amazing ways in which I think I have grown as a person. There's so much of patients that are learned through this medium. Whether big wash water color, any other medium, you need to have follow-up patients to work with each one of them. I'll add some small, small dots for the background flowers. In the meanwhile, you can see I'm using my rosemary liner brush. You can use any liner brush that is available with you. This is majorly to get those thinner lines and those details to create those details which we usually cannot create our smaller People like this. And you need a ton of dash. In this case, I am, I like to go ahead with the liner brush for this painting. Hopefully, when you are happy and when you know that you are going to get a good outcome, these kind of things just flow. Yeah, I think creativity flows from these small, small things that I do for any kind of painting. It just flows from within. It just shows I just see some photos. I just see your some of my other videos of these beautiful floral fields and then I want to print them. If I want to paint them, what all I can do, I just try it out on people. And it's all creativity. When you start painting, you understand what you want to do and what you do not want to do. There will be some few things that you may create as not a good fight portion and that's absolutely fine. There will be mistakes, there will be positive impacts, sand, there would be some amount of positivity that you create with these floral fields. I must say, they are flopped. Flowers are always liked, love, empathy. Then they create so much of positivity with you. And you can give these kind of smaller paintings during your neuron, dear ones. They all put together, make everything looks so beautiful. You can keep it for yourself. You can decorate your art space, you can decorate your homes, can make prints out of these. Whatever you want to try it out. I think this one medium can become your go-to medium. It is less often hustle, I must say. It's not like watercolors. It takes a long time to dry out, so the drying time is very less, the working time is very less, as well as the final outcome is really brilliant. Wash one aspect is that whatever be the outcome, you will see a very beautiful vibrant painting. Okay, So guys, I have explained everything that is possible to now regarding the details, but you have to paint for these poppy flowers. So go ahead and act those details. Once you have added those details, it's just better off your smart dots here and there some more details with you continue working on but involved we do not want to go overboard with the whole of the painting. So don't try to just make the sky full of your poppies. That's one thing you have to keep in mind why we'll paint the sponge solo cups in that set. And once you're done with that, let's have a look at a pacman angle bisector of a porous completely dried off. I would go ahead and remove the tape back and mangoes. See how I'm going ahead and removing my kids can't call Bay and Benny, so Mano, I do not. Why are people you need to keep that in mind in case you are not using 300 GSM paper. You might have to look into that if you give me, give him feel off the table, I want to be really sure about this. That's one of the reasons I do not suggest unique craft paper to any one of you. Though, you can go ahead with Kraft paper trial with 300 GSM plus orals. If you are using lesser than 300 GSM, then don't apply what she did. Or it might be off your paper when you are taking it off, That's still meeting, which I want to tell you. Let's move on to the next project now way we get to experience more magic in terms of painting our lavender fields. 9. Project 3 Lavendar Field: Let's make the lavender fields this time and choosing my colors, I would like to go ahead with the two beautiful shapes. One is the flesh color that you usually absorbed. It's kind of a peach shape. You can make the shape the case. It is not available with you. It's with some amount of urine, red, yellow, and white. You can make a shape like this one and gives it. Okay. Now this is not exactly a flat brush. I really wanted to show you the difference between incase, you are using a flat brush or round brush like this. And if you have an angled brush, if you are having an angular brush, the amount of wash that you'll pick up on your brush, his lesser compared to what I am picking up right now on this brush. That's one of the reasons I would really love each one of you to switch to either a flat brush completely, which is absolutely synthetic in nature. Orders go ahead with an angular brush, and that should be synthetics so that it doesn't hold a lot of water then it, I know that I am representing this on a regular basis about the water content because that's when as bigness we tend to go wrong. And that spread the whole wash painting, we'll go for it. Does that the reason I'm trying to emphasize on it more and more. Okay, blending it with the help of my angular brush. Then just adding a bit of my other color that is flesh and then blending it again. In the meantime, I must tell you that I have mixed some amount of my white with my purple that I had, or bright violet. And then I have added that color on the top part of my sky. Once I have added this color, I would go ahead and start painting my mountains. Now the mountain area needs to be in two different sheets. That is, you are flesh color as well as your purple color. As I want to show the lavender fields which are extended even to the back mountains. And this is basically fields over fields of Lepanto that you usually observe. So I continue to add those same colors which I have. Going ahead. And adding the colors. With that, I keep ordering the value of my violet shade. Why? Although the value of the balance sheet, it gives me way more depth to bene, alter this value. And some of the areas I try to add the darker value and some of the areas I tried to add the lighter value. That's the only change which I do, along with their time keeping some whitespace. Now that whitespace, I'm going up with the flesh color which I have already shown you. The whole of the mountain space that I have in this painting is going to be simple, easy, interesting. We are just going to change the values of the color. Values of the column means we are going to blend the colors along with the change to a value of only one single color, that is your bright violet or purple, whatever is available on your palate. That's it. And you will see that a background London has done. It's a very, very small area which we are covering. That's one of the reason I do not want to complicated much. Always whether a big wash, whether it be watercolors, whether it be any other medium. If you complicate the subject lot, then it would be difficult for you to concentrate on it more. Whereas if you keep it simple, it would be easier for you to walk along with it. Okay, I'm going ahead and adding some of my lighter value of my pulpit. How do I add this slider value for snowfall? I did add some amount of my wife do the poeple that have already had along with it. I have mixed quite a good amount of this white thing to do before I add to the fields. Secondly, I'm leaving some white spaces in between where I'm going to add some of my green wash. Now whether it be any kind of left no fee, you will observe that there will be some amount of greens that you will observe. And I want to show that dreams. If you are not using your angular brush one by four and you can go ahead with a round brush like this, not, this is not exactly a round brush. It had. He does find o for round shape on the top, but it is more on the flat side. So you can use a brush like this, you can use so anytime of angular brush, orals, even a flat brush and C, using the brushes to your advantage is always good. But along with it, you should remember that you are not going to complicate the subject much as well as you have to go step-by-step. If we are starting from the sky, we will proceed towards the bottom step, vise. We're not going to leave any space empty in our first year and come back in our secondly, that's one thing which I have lot over the years, King's wash, that you should not leave any spaces empty. Going ahead and adding some more greens wherever it is necessary. Once I have handed this green, I would start blending it. How do I blend it? I would use again my angular brush, brush blending it. You can use your one by foreign triangular brush. This is the best brush by which you can practically and the colors and blend the colors. Yeah, I might be saying this very often that there is lot of stress on synthetic brushes. And I'm not putting much stress on the kind of wash that you can use. But practically I have used 200 quash. I have used pretty much cheaper wash and according to my experience, all of them give you similar kinds of effects. Only one thing on that for students, great quash, you might have to go more over in layers. Whereas in case you are using or artist grade gouache or wash from Winsor and Newton professional grade. And hoping you will get o pigment grade which is way better. That's the only difference what I have observed from my hand much. And of course, if there is a change in the pigment quality, then you might fake, find more vibrancy as well as you might find the paintings looking more beautiful when you were using absolute artist grade wash. But as a beginner, I would never suggest you to start working with everything which is very, very expensive. Go head and try out with the simpler paintings as well as go ahead and try out with the wash, which is way more cheaper. If you see I'm slowly blending it with my purple color. And this purple color is basically the bright violet which I have. I am mixing some amount of white in it and few of those spaces wherever I feel it is necessary. These are small, small things that you can also do and blend your colors in a better way. We will keep some part as green as you have already absorbed. And while I go towards the bottom, I would love to blend it even better with the help of my angular brush and I have picked up some color. It is basically kind of sap green which I am using. You can go with olive green, you can go with any debris that is available on your palette. You can even prepare the colors on your own. That's always a great idea. You get to load so much more. In color theory if you are adding your colors and making your colors on your own. So again, that's an ideal which you can always go ahead and explore for painting, even as bigness, you get to learn so much more in that aspect. Okay, I guess I'm pretty much happy with my blending part. I might add some trees for my horizon line, or just before I paint my background mountains, I would go ahead and paint some trees. Many of you might think, okay, if had been watercolors and it would have been so difficult to add trees now. And it would be my second layer, how the other colors will react, etc. But believe me, Vestas quash. You go ahead with the second layer and there is no problem at all. Whenever you are going ahead with the second layer, just make sure that you're not going over on the layers that you were adding. In the second very few are adding some Carlos. You shall not go over it again and again and again to reactivate the paint, which you have added audio. That's the only key that you need to follow. Rest everything will fall in place. Okay? Again, I am changing the value of the colors that I'm adding for my background tree. Once I have changed the value of my color, which I'm adding for the background tree. You can also see that there is a small, small dots that I add. Again, background trees are like anything that you want to add. Go ahead and added. There is no rule of adding a background or three ingredient one too complicated, right? So mu-s you want do whatever you want to make small dots makes more lines. Anyway, you want to add it downward. And that randomness that you want in your bathing and that kind of beauty and magic which you want to add. This is the time to experiment, so picks betterment, change your values of that. That would be lord of a backpack. You can consult with your painting. Okay. To add some depth to the painting, I need to make some lines. Now, these lines will be possible with the green start, I need to act on my green needs to be a dark green direct goal Read Archive for my painting. I foreground flowers. I would add the screen, whereas for my background flowers, I'm not going to add so much on bringing in terms of the detail entire am going to do. Even if they're using a liner brush like this, I'm able to complete this painting within 23 to 24 minutes. And that's practically the beauty of working with quash. Your paper dries up immediately once you have applied your colors. It really means is very, very less time to complete and you are practically done within a half an R. If you have during the morning coffee or during the evening breaks are before you go back to sleep. You will have that much amount of time to practice the wash. And there is so much more that you can add on in case you are looking for a side hustle. This I think is the medium that you should watch out for. It has been in practice from the last 600 years. And there are so many opaque mediums which has come and gone. But this one has stayed with the designers, the state with many artist. And now it's being used very extensively with, I think of it has been one of the go-to mediums for each and every one. And most of the experiments that you do in Gua Sha comes on very well as it has the nature of being very, very forgiving. Now why I say forgiving? If you have added one layer, It's not that you cannot add. I'll go over it in the second year. Your first layer is less opaque, then it becomes even more easier to go ahead with your second layer. While I am my second layer, you will see that I use my lifetime. Why use a light hand? I do not go over one area again and again so that I do not reactivate the paint status there in my first year. So these are a few aspects on which I do follow for my gouache painting. And practically that really helps me to see you through this course. She easily, okay, going ahead with some darker values, some lighter values, you have to alter the values of the green. You can add some black. You can go ahead and add some yellow in the dark green that you already have to make it lighter in value. That's how we are going to change the values. That's how we are going to create the depth. That's how we are going to war-torn. Everything that is possible for don't grasp. Now this grasses practically in the green start you get from your lavender fields. Once we are done with the string, we would go ahead and start adding some darker values for our Lebanon fields. I would use my size two, brush font, 11 0 ones. Okay, I have added some of my darker value it as my violet or you can take any kind of pride phyla that is available with you. This is so Washoe from close show us have told you and I'm adding some simple, simple dots. Again, I would argue the colors. Fascia would go ahead and add some darker values, and then I would go ahead and add some lighter values. That's how I would keep altering the colors and that's how you will get a viewer with lavender field. I'm looking on the foregrounds right now. As we have already worked on the background, it's time to first had a lot of texture and duty to the foreground. And then we can of course go back to a background and again work on it. Okay, let's keep adding these smog, smog dots. If you see towards the top I'm adding lesser dots compared to, well, I go to which the bottom, the bottom media will have of course, more number of dots on it could be more broader. It would be more like a cone shape that you can observe while you paint this window field. Okay, Now it's time to add some more broader strokes. I would say that while you work on the foregrounds towards the right, that would go head with some of the florals which are more broader, which are more thicker, and they are more closer to us, so they would be more detailed. These are small, small aspects. Again, these as one small clients that I always tell you, it has to be like a cone shape. It cannot be like all the flowers together. If you see there is some gap that we need to maintain while we add this kind of a conical structure. Again, the coin should not be really wide. Well, you come towards the bottom area. They should be balanced towards the left-hand two widths, the right, only towards the top, it should be 10, like a triangle. While you go towards the bottom, if you observe this particular flower that I'm painting right now, it is just starting small, small dots to Woodstock talk, Hi, I am making it like a triangle. And then while I go towards the bottom, I'm just adding some random dots. That's what you need to also do for this painting. I have tried to keep it as simple as possible. I can tell you, once you complete the painting, you would be super proud of yourself. What you have done in the painting is very amazing. How this whole painting has turned out would be, again, something that you need to look forward to angle would be really happy with it. So B along with me, I can tell you, you can literally create munching on paper. So just keep adding the gallows as I am doing right now on the people. Once you add these colors, you can also follow so that how easily the colors are going to blend with each other beautifully. We are going to add more and more darker values to the background that how we are going to actually manage the whole of the feet. Again, I'm altering the values for my Bagram. This is a simple blending exercise which I am doing. Now. Altering the values will give me more room to play with it. And that's a thing that I always follow for my paintings that I like to order the values for the background or whether it be for the foregrounds. Foregrounds, of course, majorly I'll work on it as that is more visible to the spectators, that is more clear. And working more on the foregrounds, which had a lot more to your painting and it would look a lot more original, I would say. So again, changing some values for the background to just adding small smart dots with your purple shade or your violet color. And once you were mad at these small, small dots, I would blend it with my blending brush. I'm keeping my angular brush that is one by four-inch for blending. Again. Now this is a purines or add the, I would say this is a purine. So for live endothelium, which is far off, so you do not need to add a lot in the background that would pretty much create like a lot more messy, I would say compared to what it can add our two. Hence, for the background, keeping it simple, be more intelligent way of handling it. And I have always done dot-dot-dot even in my previous videos. If you see only for the foregrounds, we complicated more and keep adding more and more dots. That's what you have to do. Hi. In case you have a closer look at my brush. You can understand that I've mixed some amount of my white to the purples that I already had. And then now I am applying some lighter values to my lab and no flowers. I am just altering the values of the lavender flowers over here. I'm not trying to get an exact match. Our Exactly. I'm not trying to recreate the 11 DO flowers. That's how I always go about in anything. Take time not trying to practically take over the flowers or I'm not trying to imitate and try to create something which is very, very realistic. I only try to stick to my basic sun creates something which looks more appealing and which can practically give you a sense of living new fields existing. That's what is most important. And once you are done with this, try adding some of the lighter values of your green. Pick up some light green on your brush and then add smaller lines. Once you have added the smaller lines, you can have a look at it and understand that there's so much Jeff data you have already created in this painting that the whole painting tactically comes to life now. And once you are done with this lecture, paper dry off, usually dries off with very, very quickly. As I'm using pretty much opaque colors over here, retouching some areas. So for my background mountain and then blending it with the help of my angular brush that is one by four inch. Pretty happy with how the whole of the painting has turned up. Hence, I am just removing the tip at an angle and have long a final look at the painting. I'm very sure about it that you will be also amazed with the kind of outcome that you can kit in case you are working with Galatia. So go ahead, give it a try. I'm pretty sure about it. You will fall in love with it and you would also like to paint something more with quash nowadays for she's available at a cheaper rate. So look if this medium a try, I will meet you next with those fought project. 10. Project 4 Daisy Field: This is our fourth painting and the last project from the series. It is going to be ODC feet. I'm just marking my horizon line with the help of my pencil. It's a very simple, 20 to 25 minutes, six size. Going ahead with the flesh color, you can also prepare this color. I'm mixing some of your red, yellow, and white in case you do not have this column. I bought though bruce dog wash. It had the scholar available in it already. And I'm using it to the full potential to make my sky. Now this guy will be more of a blending exercise for each one of us. Now, this blending is really important as we do not want any colors to get activated as well as we want the colors to blend well and not give us any kind of green. That's really important to go ahead with lesser colors if you do want to avoid the greens. And in case you want to go ahead with more colors, pick colors like high-end doing hi, prefer using some of the flesh color. While Hi, I'm closer to my sky Hadean. Or else go ahead with your pink. Pink. Reacting with glue will kick you out Gallo that is somewhat like buffer. Buffer usually looks nice when you are working on this guy. I like to use my small angular brush for my blending area. Now, I have usually asked you to use an angular brush. Now I'm going to have brushes really handy when you have to blend your colors. Whereas you can go ahead with any other brush of your choice. There is no best brush. I would say that you can go ahead and use. So cool with any flat brush or any other brush, preferably flat brush or angular brush because they both will keep blending your colors better. Secondly, try to use synthetic brushes rather than going ahead with more brushes. More brushes hold a lot of water, as I've already told you. So I love to go ahead with this angular brush. As angular brush picks up really less water compared to any other brush that you can think of where you can go ahead and use for your painting. I know that I have been asking you for many of these brushes. I'm telling you about the best parts of each one of them. As I want to leave you with lots of opportunities to select which brushed his best for you and which color is best for you. I'm using pretty much very easy and simple wash from Bruce show. It's hardly about $10 and you can purchase it in India or rolls. You can go ahead with any other cheaper quash that is available. Student growth, that's perfectly fine. And you can also go ahead with the higher-end wash like Winsor and Newton. Or roles even go head with some other like well-being. And they are excellent with their pigment quality and you can surely find a difference. But as we are big news, I can tell you that you can go ahead with any brush of your choice that is good to go, as well as any color of your choice that is really cheap and you can use it to your advantage so that you don't end up spending a lot as philos UK are great outcome. Okay, I'm using a light green color. Now, each of these squash set will have the column names differently. Now, this is a light green color as well as an olive green on a sap green that you see I'm applying towards the bottom area of the painting. Both of these colors have to blend well with each other. I keep blending these fonts. You might think that I'm going pretty fast, but believe me, it's just fuel wash that I'm applying and I don't want to leave any spaces, has white. That's the reason I'm going ahead with the most opaque and thick medium. You can also add a bit of water while you want to add these colors. Now, the wash that I have is a not having a lot of room for adding water. And that's one of the reasons we should always go ahead and check out the exercises and to less we should try out the techniques that I have discussed in the initial part that would really help you to actually accelerate your process to discover this new medium, how to paint with gouache. I would be giving you a bonus lesson next. Where you can show you understand that posture colors can also be used in case you want to go ahead and paint with some of the opaque medium which has water as the base. So what happens with your posture, Carlos's it's more coarse and greens are stored in the jar usually, I mean to say the pigment grains are more course and they're stored in a jar rather than coming in a tube. So that's the only difference. Auntie are good enough. I use hello, which is less than $5, and still it gives me great outcomes. So I really would love to show you that in the bonus lesson and it is really detailed. You will see how even using or very low quality or I would say not about the quality. The quality is good, but it's more about the price that you pay. So the price is really less. And greens are quartz, that's one of the reasons they installed and chars for your post to color. Whereas when it comes to quash, it has been stored in tubes as they are more fine. And you can get a better outcome with quash. But believe me, you will see how much magic, even simple post two colors can actually get to you. So, yeah, Stay with me for the ruinous less than next is we're going ahead and adding these small, small lines, but they had both gone liner brush. Do have to go really quick in this one. Roc you can go vase slow in this one. That's absolutely fine. There is no best way of going about it. Keats, simply just adding some lines. I went holy bit slow. But if you are more of a GUA shadows, you can even go faster and this aspect, but do make sure that your phosphorus tri enough. It is completely dry before you aren't the second layer morals your phosphate will get activated and the second layer will not stay on top of your first year. The second rule that I have told you again and again while we were painting with the cautious, not to go ahead with Bush on one single layer or you have to add layers, then you cannot go over it again and again and again. It keeps reactivating the pins that you have applied asset and smaller for water-based medium. So be sure while you are adding any kind of lines, etc. So as always, you can go with the layers on at a picture faces, make sure that you add these lines. So with very light hands do not try to go over it again and again and again. Having some background trees. These are the three so which usually at the Earth, around the horizon line. Now this horizon line graded all the mock initially with our pencil. And now you can distinguish it because you have the sky above the ground area. So these trees would be dead and you have to blend it with the help of your blending brush. My blending brush is the angular one by four inch brush. This is very handy and it helps me to blend really well. When I had any kind of colors to my background, I would do a mix and match of my green values for my branches of the daisy flower. You will see that either alter these values. Sometimes I would go with the lighter green value, and sometimes I would go with the darker green value. It might look a bit difficult initially because there are a lot of strokes that I am adding right now. So you have to keep a bit of patients along with me. And then let the magic happen. When I add these flowers, I tried to Walter kinds of brushstrokes. I'm adding some of them, I would add smaller, and some of them I would hide larger. You see how beautifully I keep ordering it so that you can always get more naturally looking flowers and its nature. And I always say nature, this very phantom. If you want to earn that randomness even to your flowers, go head and had strokes in many different directions. As well as you have to make sure some of them are bigger, some of them are smaller, and some loose strokes here and there should be left out. I'm leaving the middle space of the flower to add the yellow. If you see Daisy has a yellow in the middle and the rest of it is white. We are not going ahead and adding any kind of masking fluid to preserve the white because it doesn't wash printing. When it is a wash painting, I like to use my white quash to Woburn layers. Now when I add the flowers for my foreground, you will see the bigger and broader compared to flowers which I am adding format background for my background, they would be simple dots. You have to see this difference while you paint the flowers. Anything which is appearing in the foreground will be more bigger and they are closer to your eyes. Whereas painting, which is in the background, is part of it. Hence, as for perspective, it would appear more blood or they would appear more smaller. We are not going to complicate the subject. Hence, we are going to keep it simple and painted as simple dots for the background. Flowers. Whereas the foreground flowers, of course, I would be adding more details. I would be adding more yellow into it. And there will be a lot more detail part included in each one of them. Going ahead, if you see just hiding some small, small dots can also help you to depict the flowers. Everytime. It's not a necessity to go head and think everything in detail. And that's what we will follow as a rule for this painting. Going ahead in the second layer for our wash painting. Again, even for your wash, You can go ahead with layers. Now the first few that you need to apply should be always in lighter, or you can say would like the consistency compared to what you apply in the second layer. Where does so? Since we are not going to add a lot in the second year, I went ahead with quite an opaque medium for my first layer. And then I'm only adding detail for my second layer. So I would leave it up to you how you want to go ahead and add our workout on these layers. Taking some lemon yellow and adding a bit of flesh color into it, and then adding some small, small dots. This is my size two brush which I'm using to add these colors. I would show you a variety of brushes which you can use. I have already shown you there, find B flat brush. There might be round brush, there might be angled brush. Anything that you are using. I have told you earlier also, it should be synthetic. It should not hold a lot of water or else That's where the wash medium will go for a toss. Washes a medium where you need to apply the colors which are more creamy in nature. Whereas if you are going ahead with the first year, I would say that the LEA needs to get absorbed. So you can always go ahead with more of water-based and the less creamy. Whereas when you are going to head with your second year, it shouldn't be 90 to 95 percent wash and only five to 10 percent water, then you will get the exact effect ritual right now. And so Fondo people. Next we'll head with light green that we have on this slide clean now, when you give you practically very exact contrast of your depth in the painting, we always need to add contrast. Now, this is one important aspect of your wash painting. If you aren't the contrast and only you will get the depth in the painting, and then only it would look more here. We have already added the darker values. Now it's time for the lighter value. In our water color painting, you will always see that we have to add a lighter value and then on LIGO headquartered up or bad. Whereas for wash painting, it is a bit different. We go ahead with the lighter value even after we have our dental darker value. One simple reasoners, the opacity with which you are working washes completely opaque. That's one of the reason you can walk as you want. I think some smart, smart dots here and there as you observe me. Right now, this will give you a look which is more loose and nice. Kimmy kind off or DC field. Once I've highlighted these small, small dots, but the lighter value of the green, I will go ahead again with my dark green. It can be sapling, it can be any auto green that is available on your palette. You can also add a bit of black into your grade that you have and then keep adding it onto the floor or thin. Again, the whole idea is to create depth and that set. And these are the last 2.52 minutes which is left for our painting. We are not going to add anything more into the daisy flower area. I would go head and only add a bit of your grade in Buddha floral area. Now, this green would really give you an effect which looks like that. There are some shadows also in the flowers, which you usually observed in field or in o fluoro field. There will be some of the flowers where there will be like and some parts will have these kinds of shadows. Skier time, I think right now foretold EVA, vacuum of so again, we do not need to overdo any part of it. Hence, just touch it in few of the areas. This is like a medallion touch or you can say the touch that has to be clearly daily optical to your high. And it has to be really, really optimum, optimum in a way that you are not going to get a lot, whereas you're not going to hide it less. If you aren't really less new will not absorb the shadows in this whole of the fluorophore. And if you were a lot more, it would actually overdose. Whole of the white that you have added for the floral area. So just touching it a bit more here and that wherever I feel that is necessary. But the green, and once I have a 100 degree, I would go ahead and let the paper dry out completely. Once this paper dries out, then only I would remove my tape. That is again, a very, very important aspect of your brush. I'm using a 100 percent quadruplets, four arches as always. And this is a smooth surface, which is basically my hard-pressed paper. Many of you might have even cold press, that's absolutely fine. Go ahead, use your cold press paper in case you want to work with wash. That's not a problem. I'm using hot press because the wash stays on it for a longer period of time. Hence, it becomes easier for me to walk around with it. But I would leave that choice up to you. What kind of paper you want to use. A rough grain would not be a very suitable one. So I'll try to go ahead with cold pressed or a simple hard pressed one for this painting. 11. Bonus Lesson with Poster Color: This is the last bonus lesson. And over here, I want to talk to you about post two colors. Now why I want to talk to you about coastal follows, as many of us do not want to spend a good amount of money on quash. And we would like to try out the opaque medium, which can be even done with the help of bringing him go, or else it can be even gone with the help of post two columns. Now post two colors is a bit different than wash time. I would tell you all the differences between opposed to follow as well as a wash. But before I go ahead with it, I'm using or gums premium post to Carlo and there are 12 different colors in it. Along with it, I must tell you that this is condo $5. So if you looking forward to purchasing or trying out something like opaque medium, then this is a good thing for you. You can always trying to solve before you finally try out your poster colors. I'm using my dark green color and along with it I am mixing some amount of my black to get a darker value, which I would apply on my people. I have picked up some water from my glass jar and added to the wrinkled that I did all the meat or the mix on my palette. Once I have had a tad, follow, I would go ahead and start adding on my small little paper that I have. Now, this is a small-sized paper which I'm using this for me. I do not want to get overboard with lot size people. And then thinking why I'm using this kind of paper, et cetera. So that's one of the reasons and this is a 270 GSM people that I'm using. It is cold pressed, 100 percent cotton you might use, you might not use. So your post to Carlos asked for last year of Joash can be used to on any kind of surface. It can be even a lower GSM than 300 GSM far I always preferable if you go ahead with what, 300 GSM paper or 250 GSM, 270 GSM paper, from which you can tactically remove your tape points, you apply it. While we keep adding the colors for our first year. The second difference that I want to tell you a start, the pigment for goulash mostly comes in your tubes, whereas your post two colors usually comes in jars. Now, why this whole difference? Figments of the posture colors are usually more coarse and nature and they are bigger in size compared to what you usually get ink wash. If you are using wash like what sort of Newton or you are using whole being which are like completely professional grade. You can see that the fronts of pigments for sure. But I still would insist in case you want to start out in case you are looking forward to working with some opaque medium, then I'll post two colors can be a good option as it is available. Very cheaper rate, you can use any kind of paper for this. And secondly, even synthetic brushes are perfectly fine. So all of the colors, paper, et cetera, are available at a much, much lower rate compared to any other watercolor set. Or if you want to go ahead with event, oh gosh, set, which is good inequality and which would give you a good outcome. So that's the second difference that I want to tell you about. George Washington Post two colors. The tone differences about the pigment binders and additives. So pigment binders and additives are absolutely different or for wash and for your posture colors for wash since you are buying it at a higher quality and as well as higher price, The Colby that you get would be of course, higher compared to what you get for your post two colors, the wash, as well as your posture color. Both of them sit on top of your paper for a longer period of time, as well as the dry off pretty quickly. Therefore, they're not so transparent in nature. They're more chalky compared to when you are working with watercolors. Okay, now post two colors, may not be as vibrant as you find your wash. That's another aspect though, which I want to highlight. In this case, the pigments might become more LDL and they might not be as vibrant as you usually find in any of your Gua Sha medium. The second important aspect is you opposed to colors might create muddy effect pretty quickly compared to if you are going ahead and using your drum wash. Now why opposed to Kahlo's will create more muddy effect, are made out of multiple pigments, each and every color. That's one of the reasons whenever you are trying to mix more colors to your post to color, they might have more muddy and you might not get the exact effect which you want. So if you want to walk with post to Carlos, try to keep it simple. Try to work out with only few basic colors or you can even go ahead and work with limited palette that can give you a good sense of how you go about your painting, as well as it can help you to even try out a medium like Bush and stood to do something like first two colors for voting it out. So it can it is not a replica of quash for sure. It can only help you to give an effect of an opaque medium which looks a bit like quash, but it's not exactly Joash. Can still do something which is closer to wash. Okay, That's the other effect. Now, I have mixed some Ahmad off my green as well as some of my black to get the Scholar. And I'm going with very, very random strokes to add some leaves. Now the background I did painted with her dark green color as you have seen, I have added black. I use black and many of my things over your because black can go wealth in this case, there is no problem of coming back has it is opaque. Hence, I can even add white, even if I have applied among any amount of black for my background. Today, rotate my paper whenever it is necessary and keep adding these small, small dots, the small small lines so it is using my size six brush. You can go ahead with any size six round brush to work this out. That's absolutely fine with me. You can go ahead with any kind of synthetic brushes status available. Okay. It should not hold a lot of water. It should be more of an opaque medium that you should have on the brush. It should be more creamy so that it is so good to apply. And we can even go here to width our toddler for the painting. I did apply to set off my colors. I did prepare basically to set up my colors before I go ahead and apply for my bank round area. One was for the lighter green and one was but the darker green. So that's how I always cool about mixing my colors. I usually prepare my colors beforehand. And then once I have added the studio, I would allow my whole painting to dry off. Before we go further. In this, let's just understand a bit more above quash and about postcards. Okay, So you can of course, go ahead and sell your artwork in case you are working with wash. Whereas for scanning and production usually post two colors are used. And since that is a problem that light fast names, so they do become worse over the years. Hence, it becomes really tough for a fire to keep it intact. If you are selling any of your work in post to follow compared to if you were selling it in goulash. While I have told you everything about Washington Post, staccato switches important, that you should basically know when you are working with both of these mediums. The rest, I would leave it up to you to discover it's not that you should not cry on both the medium time. You should stick to any one medium. In case you are looking out for cheaper option, you can of course try anything with post to Carlos and in case you are looking out for our premium range, you should go ahead and try out with gouache. I would leave it up to you what you want to go head and try out. I have completely in some amount of blue and mix some amount of my paint into wet. And then I am mixing this color alone, but some white to actually paint my blue daisies. So this is a wild flower which you usually find. There are so many fields that you can create with this. And I did create a lot of fields beforehand, but I wanted to show something which is more closer. And that's one of the reasons of doing this painting altogether. And on a different surface. As I want to try out different surface for you guys, you should get to know that you can even work with a cheaper paper if you were looking out for working with wash. You do not need to only stick to papers, dike Arches, Fabriano, you can go ahead and use even trough papers. Any kind of card stock. Most of them can work for you. Okay, along with it. Now let's get back to some painting hand. You can observe me actually adding some small, small round structures over here. They are basically the middle part of the blue daisy flower. This is something which looks a bit more blue, but it has a bit of pink in it. So yeah, we would do that. I did alter the shape and size of their rounds which I have created. So you can also order it accordingly. I'm going with a very bright yellow color. I have added some amount of my white cane to this yellow. It is closer to something like an Indian yellow or Sennelier yellow, which we usually get in watercolors. You can find this kind of a yellow even in wash. So whatever is available with you use that yellow for creating this whole small, small gods that I'm adding. There is lot of randomness or where you are, which you can observe as it is nature and nature has got its own randomness. I would really like to stick to that and keep working towards it so that it can really create the beauty that is needed. Going ahead and adding some more small, small, round structures so wherever it is necessary. And then we would let this paper dry off quarrels so we can also start painting over it. That's not a problem as we are not going to go over this yellow part. Anyway. We ongoing only extend the on the petals sides, so it's absolutely fine for this there. But you can seriously absorbed that. I did paint the yellow part over the screen as well as the light green part, which is all the existing. Hence, you can always see that quash has a medium which can be more and more forgiving compared to watercolors or else even post two colors are a medium which is way more forgiving compared to watercolors. And you can go over and over on midi, on each and every layer. Keeping in mind that you are not reactivating the paint switches, they're already as posture Carlos Bosch or watercolors, any medium that you are using. These other three basic mediums which always use water as they're activating agent. And wherever water is, they're activating agent. Your color that is given below might also get reactivated if you are working over and over a particular place again and again. To my flowers has always been one of the most interesting and the most beautiful parts. I'm using my size two. Brush again to add these petals. It is a light blue color. If you can see there are different kinds of colors. Flowers, everything which is there in nature. You campaign so many wild flowers inspired from nature. This is really one of them. I have already shown you how to paint the fields, how to paint the poppy flowers, lavender fields. If you go ahead and try ys and mustard fields, you will. One of each and every painting is so inspiring. It takes me so much closer to nature. That really helps me to be more friendly as an artist as well as it helps me to evolve as an artist who can practice. Relate so much more to nature and it's beautiful. Flowers are just a way to express it in a meaningful way, I would say by nature and a weekend practically get everything when it is about floral stuff. You are observing me. Well, then you can see the CC that I have two shades of blue. One is a bit darker value and one is a bit of light. The darker value sometimes I'm using and sometimes I'm ordering it with the lighter value. This is very important when you are working with an opaque medium. It helps to create a lot of depth into your painting that I've explained for the wash from das also applying even for post two column, they are almost same. Everything that I've explained in terms of the techniques, in terms of blending, mixing, et cetera, layering will remain the same. Theorists know practically, hardly any difference. Men we're working with post to Carlos and B are working with Porsche. Only important aspect which I did find a venue or working in layers. It takes a while for posture colors to dry off compared to if you were working with quash, he just tries way more faster compared to your Bush. The second important aspect, of course, I've already told you about the light fastening part in case you are going ahead with professional painting and you want to sell your art. Do try to work with quash. It has great pigments to walk around with and that you can easily sell handle carlos will not fade out over the years and it would remain intact as you get absorbed. So this is one important thing to keep in mind. If you observe closely, I keep rotating my paper to my advantage. Sometimes I'm painting on the right side when I'm turning my paper towards the right. And sometimes I am again moving my paper to get the perfect lines as well as the perfect strokes. It's absolutely good to alter your strokes smaller, larger. Just to show that in some places your drum petals are a bit tilted compared to other places where the petals are not tilted enough. That's the bark which you can of course follow and work along. Once this part is done, I got asked you to go a bit more detail and go a bit more in depth where we will work on the middle part of the flower, and that would be Poland's, et cetera. I want to add some more darker and lighter values. Again, the depth part would add onto it. You can always see that some parts are of darker values or it is for your darker colors compared to if you are going ahead, don't wait. Any other shapes. So yeah, if you are making it more flat, then you can go ahead with only one single shape. But when I'm painting, I like to add more texture. I like to add more value into what I'm adding some smart, smart dots right now and then extending it with the help of my blue posture color. Once I've added disposed to Kahlo, I would call in and around a wash my brush stamp and had some smallest shops to show those smaller flowers. That's it. I think I'm pretty good with how this painting is turning out. There are just taught last 45 minutes or seven minutes, which is left in the whole of the painting. And I need to go slow at this point in time. I have to build a truly aware of how I worked through this painting. Now, I do not want to commit any mistake. As I know, the whole of the painting can stick in a shape and there is only less which is left. I would say in terms of the painting part, we are practically done. It's just few details of lines that I want to paint along. That I can show the scam and show basically alerts chimps in this park. And I guess that's it. I do not want anything further. Okay. Yeah. Let's keep adding some more small, small blue dots here and there. Once I'm done with it, Let's start adding this bird off red, mixed in yellow, you get a color like this, which will practically create that light and shadow effect in the middle part of the flower that has the blue Daisy which we are painting, or any blue wildflower that you want to think. Blue and yellow are absolutely great combination and I love to walk with both of them Fe, often. By not creating any Getting that you need to keep in mind technique not creating green by mixing the yellow and topple. Hi Bo, keep adding these small, small lines now in green and I would use my liner brush to add it. I would keep it really simple as of now and I want to leave it all up to you. I'm not going to explain anything more over here, some small dots, some small lines. And that's it. It would create the whole of the magic. We have already practically created matching on people by painting called these flowers. In case you want to hard or go head with more than you can further retailer. But I would leave that up to you. For me. This is where I would love to stop in terms of the flowers that I did, pink. I don't like to get overboard with this painting any further. I know there can be a lot. Thank you. Cannot do any post Chicago or a wash painting. There can be when more detail you can spend way more time on it and you can get away more better outcome. The whole intent of this painting will be lost if I continue working on it. It is focused on beginners like come has. And as a beginner, I have always struggled to paint with post to Carlos or whether it be quash. I practically included both of these in this whole of the class so that all of you can get the stuff, both of these sets in case any of you want to try it out, go ahead and try out, even post to Carlos to your advantage. They can be less by bit, but they are way more cheaper. They can give you similar outcomes like Bosch but of Berkeley lesser compared to wash. So that's absolutely fine. We don't need to always spend a lot and be heavy on our pockets. I think I have said that enough has this very cheap and I loved that fact. I can experiment so much with these jars. I have baited 45 paintings already and only a bit of my jar is empty. Don't know. That's the best feeling which I get when I'm using my Payne's. Most of the pain survey expensive, whether it be watercolors, whether it be quash, whether dung can be any other medium like acrylics, if you are going ahead with your professional grade things. So always trying out new options or base trying out different possibilities is a good thing to do. Removing the tape at an angle so that my paper doesn't rip off. That's very important. I always use washi tape. Washi tapes actually helps me preserve my paper to a large extent. And this is my whole chart that you can solve. It is completely soaked in quash hand. I just wonder show you that color, which I get after whole of my painting. You can ofcourse the two jars to your advantage. I did change my water once in between. So either you can do that or either you can leave it. I might add one or two details here and there. Even after I have 30, that's absolutely fine. Oral. So writing code, you can even leave it at this stage. So it's just an option that you have few can work further. You can leave it here, whatever it is, so it would be good. It is a great outcome. One thing that I wanted to tell you why I work term again on it does adding a bit more red in few of the places. So I did take some of my red on my brush and then added on the middle part of the flowers wherever I did think it is necessary and do let the paper dry off for a longer period of time. It is a possibility that your pins will take longer Peter to dry off compared to quash. For me it happened and I want to even highlighted to you so that you don't make any mistakes while the whole of the painting gets dried off. Okay, guys, let's move on to the conclusion part. 12. Conclusion: I hope you have enjoyed painting all these four beautiful floral meadows along with me in case you have liked anything about this class to relieve me of feedback has it as not only a great source of motivation, but also it helps me to reach out to many more new students who are looking out for similar classes like these. Do not forget to upload your class projects in the project gallery as I would love to see all of them and add on my valuable feedback on each one of them. See you very soon with the new class on the New Year.