Acrylic Landscape Painting - How To Paint Sunrise

1. Hyde Park Intro : Hyde Park is like one of my most favorite places in London. So while living in London, I used to go to this place almost every other day, walk around, feed the dogs. I love nature and going who are used to connect me so much to nature. I spend so much time walking, jogging, and everything inside the height bug. So I decided why not T2 guys, beautiful painting of Hyde Park of sunrise, where you get to learn beautiful sunrise, sky. You will learn to create trees and the shadows that it creates on the ground. Hi, my name is, I'm an artist and art educator and an absolute meter level. I have been teaching acrylic paintings professionally since 2016. I had changed my profession from a white-collar corporate job to become a full-time artists, to pursue my interest in art and to educate others about accurately paintings. If you want to know more about me, please visit my website or connect with me on Instagram. In this class, I will be breaking down this painting into six simple steps. Make it really easy for you to follow along. Even if you're a beginner in acrylic painting. If you are new to actually paintings, you can definitely learn a lot here. In the first step, I will show you how to create up gorgeous blue sky with white clouds floating on it. In step two, I will show you how to create a Sunday sky and mix the warm colors and cool colors effectively and have both of them present in the sky. In step three, I'll show you how to create the Greenfield. And I will not be using green for it, but I'll be using mix of yellow and blue and create the green. In step four, I will teach you how to create gorgeous tree trunks and almost realistic looking branches. This is going to be a long step. And in step five, I'm going to teach you that. And there is a technique behind creating these leaves. So I will be teaching you this technique also inside the class. In step six, I will teach you how to create the shadows of the trees falling on the ground based on the source of the light, which is the sun here. The techniques you will learn in this class will definitely help you a lot to create any other similar kinds of landscapes. So I hope you're excited to dive into the class and create this painting along with me. So take all your art supplies out and join me inside the glass. 2. Art Supplies: Hello, hello, a warm welcome to you to this class. I am so glad you decided to join me in this lab. We are going to learn this painting itself photograph of Hyde Park, London. As you can see much, let me just increase the brightness a little. Here is the photograph that I got from the Internet. And Hyde Park is one of my very favorite place in London. I have spent so many mornings and evenings in this place walking, jogging, running everything. When I still live in London. And I have so many fond memories of displays that I was looking for a photograph that actually would give me to teach a lot of different elements. I was actually looking pretty sunrise and sun rays in Hyde Park. And this is the photograph that I came across on the Internet and I loved it. I created this painting. I think you're back. Here is the one that I created it in my journal. I absolutely enjoyed creating this painting and I loved how it turned out after, after the painting, after creating the painting. I'm very excited to teach you this beautiful painting. It has a lot of positive energy in this painting because I'm raised somehow I always feel that's Andres gives a lot of positive vibes into your painting. And you're going to learn to create shadows, the lights, and how to create a realistic trees. That extra of the leaves and all of this goodness in one painting. Now, let's get to the art supplies. I'm going to attach this photograph in the section below so you can get the photograph for your reference. For the time being, I'm just skipping into site and we took effect in the frame today, I felt like creating a beautiful setup to teach you guys this painting with my crystals and candles. And I feel really good. Island starting to teach. Alright, so let's get to the supplies for this painting. I am going to be doing the demo on an A4 size acrylic paper that I have saved down on a white foam board. This is a white foam board. This is how it looks. If you wanted to get it, you can get it, but you can just tape it down on your table as well. Or wherever you feel comfortable. You can do it on a canvas board or stretched canvas or Canvas clothes, whatever you have available at home. Not to worry too much about the surface you're painting on. I would recommend if you're a beginner, if you're painting for the first time, in a very initial stage of acrylic painting, I wouldn't recommend you go painting on paper because you blend really well on Canvas clothes than on papers. So now if you haven't been eating for a year or so, you got a grip of how to use acrylic paints on the canvas. You can definitely try it on paper. I just feel that paper is a little bit more difficult than families. I have a set of weak blade here where I'm going to mix my colors. I am going to use fluid acrylics for this class. The colors I'm gonna be using arm starting from the top with Prussian blue. I'm going to take out some white. After that. I'm gonna take out some chrome yellow. Now I know some of you have trouble finding chrome yellow. So if you don't have Chrome yellow, you can use cadmium yellow. That is pretty much though, same shade. It is the long version of the yellow color. The next color and linked to take out is orange. This also you can call it cadmium orange. I don't want you didn't any other sheets of Oriental? They didn't want to take out my dark brown again, this is also a color that I believe is not available in every brand. If you don't have that round shape that I am going to use, you can take a burnt sienna as well. This portal modal sometimes get really stuck and it's difficult to take it out. If you want to know these colors where I buy them and how I stole them in this nozzle bottles. There is a YouTube video that I had created a couple of years back that you can refer to and get a good idea. Okay, and the last color I'm taking out is black. That's all the colors I'm gonna be using in this painting, black and white. And other than that Prussian blue, chrome, yellow, orange, and brown, I might use a little bit of red, but I am not to share. If I need red, I can take it out later. Yeah, that's all. I'm not using any green because I'm going to create the green using Prussian blue and yellow. So that creates a very beautiful, vibrant green. So I'm going to use that grid. That's what the acrylic colors. And next comes the brushes. I have two brushes. One is a little pico, and one is a little Tina. How do I choose my brushes is for the flat brushes depending on the surface sites that you'll use it. What I do is I keep the brush on this shot of your painting canvas and measure rate 12345678, roughly eight times on the short edge. So that is how you can decide the brush that will be perfect for your canvas size. So if you're using an A5, you will measure it on this side. And accordingly, you will choose the brush. I have one more of a small flat brushes is not flat. It's filbert for creating some of the small sides of the links. Okay, and this is for mostly for cap covering the background. That can be done well with this one. Also create some of the leaves, also for the leaves and blue to create a use both of these brushes, but for the background, I'm going to use just this one. I've kept a small brush for creating the trunks and the shadows of the painting. So these are three brushes that I'm going to use. That's all pretty much. I don't really use too many stuff for creating. My paintings are painting surface, plate and the colors, brushes. I have a glass of water, which is out of my frame. I cannot agree to hold everything and say, just keep a couple of patients handy because that's, you're going to need this for wiping off your brush in between steps. One more thing that you need is a rough sketch book on a rough paper wherever you have, go grab that. I'm also going to grab my old sketch book where I'm going to teach you a couple of techniques before we get into the painting. Didn't keep learning the techniques I feel is a little bit easier. Give you a little confidence to start the painting. And you'll get to learn the technique also that you can use in your other paintings as well. All right, so in the next video I'm gonna show you the techniques. 3. Acrylic Techniques For This Class: So here I got my rough sketch book. I think it's a burrito restaurant or spiral sketchbook. And I'm going to show you a few techniques of creating the knees. I'm using this brush, but you can use a flat brush also. This brush is a little old, as you can see, it's pretty already and the prices are fairly rough. And I really like using old brushes. So whenever you have old brushes, do not throw it away because you can use the old brushes to create amazing textures in your paintings. So let's get to it. All I'm doing is the technique that you need to understand and remember while doing it is not to pick up two months of paint. See, I have picked a little bit of brown but I'm just tapping you talk mostly ticking, asked less paint as possible. And then you should not put too much pressure on your paper. Just do it very gently. And this is the kind of texture that you create, just mixing few other colors along with it. Because that's how this technique works pretty well. It doesn't work with just one color. You have to mix a couple of colors to understand how the colors are blending into each other. And creating some beautiful textures. While you are towards the edge of the trees where you want to create some loose leaves. This is how you do and you can also give some of the directions. And this way, you want to show some of the directions of the leaves in whatever direction you want to do. Just twist your brush a little bit. Do not put too much pressure. I keep repeating this multiple times because I have seen from conducting on my physical workshops, this is where mostly people go wrong. They put too much of pressure. So when you put two months of pressure, you know, it's kind of gets a little blobby that I really don't like, but honestly, it's also not bad. You just need to know the balance of the pressure that you need to do. So I really want you to try this out on a rough paper or sketchbook like I'm doing, and understand how the pressure creates a different texture. And then decide for yourself, what kind of precision do you think you need to add to get this kind of feeding or the texture look of the painting. Very gentle that I call it like almost like the Federal touch on your canvas. You just keep twisting your brush in different directions to get different kinds of textures. If you want to create a really some lose one's very less leaves. Just go very slowly, gently like this. Okay, So that's it. Just keep practicing this for a few times. Now. The kind of one common question that I've got a lot from my students is that I don't have an old brush. This is a very old rational, generally save all my old brushes so that I can use them in different bindings to create the predictions. Now, what if you don't have an old brush? How do you work it out? I'm gonna show you how to do that with a new brush. This is a very new brush. I have a barely used it. I'm going to show you the same fixture on how to create. It's gone, not going to be exactly same as this one, because this texture varies depending on different brushes you'd use. The technique is absolutely the same, but depending on the brush will get different texture. So I can create exactly the same texture, but still it will be slightly different. Let's see how you do that. So normally when there isn't new brush, you see that the brush is fairly kind of thing. So first thing what I do is kind of open up the bristles like this, just keeps spreading it out for some time. It will kind of open up just a little bit, not too much lightness. Then you take very less pinned. Seemed like how I showed earlier. And then you come and do this. So it won't be exactly the same, but it will be little different, but it's going to be pretty as well. See, look at the picture that I'm getting here is very different because we hold it like this. Very different, but it's very pretty as well. It has its own unique x2. So every brush has its own unique texture. Again, remember not to push too hard. If you put too hard, it does not look good with a new brush. With all Raj. Even if you put too harsh, it still gets some kind of texture because it's kind of rough. But with a new ratio, definitely want to make sure that you want to put really less pressure. One more thing I want to tell you is that this is a feeble brush. The tip is kind of roundish. You identify it as Gouraud, definitely on paper or canvas like this. It will still create a really nice shape of the texture. Now, with a flat brush, if you're using a flat brush like this, the top is very white. If you don't want such a wide gap, what you would watch for do is take the paint on the edge, one of the teenage of the brush. And you can go like this. You can see you can create so many but ideas of texture just by moving the brush around a little bit. I'm not just holding it on the shot says I'm twisting my brush around to see where I'm getting the perfect dish that I like. So keep experimenting with the brushes that you have at home and see which one you would like in the most and then decide accordingly. So if you have a couple of brushes, try with all of them, both of them or three of them as many you have. And see which one you are lagging. Doing this for quite some time I realized that I kind of like this brush. These brushes means special brush that I keep it aside for creating such textures. One thing that I have learned from my experience is that with a new brush, the reason I don't break a new brush, even though they give really nice stated as you can see here. If you go really slow, you get really nice texture. But I have seen that with new brush. I have to be a lot of attention to create the texture. I can just move it on my brush and play around with it. Because if I just play around with it, the texture kind of kind of can get messy. Whereas if I use an old brush, I, no matter what I do, I will always end up getting good textures. This is one big difference I have found between small new brush and brush. That's why I always recommend using a brush. But if you don't have old brush, that is always a solution with a new brush as well. Look at this. I mean, I am not really much just touching the paper and beautiful textures are coming off. That's all. Just remember two things. One, don't take too much of paint and do not put too much pressure on your Canvas. These are the two thumb rules. If you can remember this, you want to create amazing textures. So keep practicing as much you can and get a hang of this technique. 5. Step 1 Blue Sky: Here is a quick overview of the entire step one, where you learn to create white clouds floating in it. I hope you'll practice the techniques that I showed in the previous video. If not, I would recommend, please, please go and try it for sometime, get the angle theta. And now let's start our painting process. The first step I'm going to create the sky and the background of the entire painting. First thing that I'm doing is picking Prussian blue. I don't like mixing my paints on the plate. Because what happens is when you mix two colors, it just creates one solid color. And I liked having multiple sheets. White creating might be doing and that's why I don't like mixing it. So what I do is I mix, I think of Buddha colors separately like this, and mix them on my canvas. And you see how many different shades you get to create during this. No particular direction. Just having fun with it. Like I said, painting on paper can be a bit difficult. If you're painting for the first time or you're training on a paper for the first time, you'll feel a little bit of friction, Wiley trying to blend in colors. For me, this is so much fun. I absolutely don't mind the friction and activity. Love it. But if you are working on Canvas, you will realize that your colors are blending so much more easily. Now as we're coming down, I am picking more of a white. One thing I forgot to mention when you are picking up the blue, don't pick up tons of blue because blue is a very high pigmented color. So did you see how much blue I pick that mu on the corner of the brush just a little bit. Now, I am picking up a lot of white to blending the blue with the white and creating a lighter shade. See again, anytime I'm picking up blue, just a tiny volume that amount I picked up. Make sure you don't pick up too much of loo. Look at the amount of fun I'm having. I'm not really trying to do much, but just moving my brush around and creating some beautiful textures. Let's keep coming down. Whenever I feel that the white is too much white, I just pick up a little bit of blue. Okay. I paint, this is good enough amount of blue. Just trying to blend the white little bit more into the blue. I think I picked up a little bit of accidents happen, That's okay. Uh, what I'm gonna do is wipe off the color. I think by picking up the blue here, I've picked up accidentally little bit of brown. Not a problem because we're going to add some little about IT in this guy. So totally fine. This is why I love acrylics so much. Make any mistakes. You can always cover it up. Happy with this. Green, a little bit more on this corner. Now as you notice, I actually keep really less paint on my brush. Which is why I'm struggling. And I liked this trouble, like I was saying, I like this trouble because that gives me a lot of space to play around with the color on the canvas. This is what it is. It's done. I'm coming down quite a bit, but I wanted to move to the other sheets of this guy. So if you look at the photograph, it has a lot of yellow and orange in this guy. Right? Now we'll be able to gradually transition into that part of the window. Before doing that, what I'm doing is adding a little bit more white to the blue. Because if I add more white, it will help me with an easy transition. That is all blue. Now what I'm gonna do is wash off the brush because if I don't watch it and go straight to yellow, orange is going to create green. I don't want that. I'm just washing off the brush completely clean and dry off the brush a little bit. Blue will remains, That's fine. Maximum of the color is gone. Okay, Now, you can give it some time if your surface is not completely dried. My knees pretty much Dr. that's because I'm using really less amount of paint. So the colors are trying really fast. Now if you're also using TIG body ie Police, it takes longer to dry. If you're using fluid acrylics like me, it can dry faster, but depending on the brand, the country you're in, depending on the way around, it might take longer. If it is dry. If it is not dry, just give you some time to dry. I am going to move on to directly on top of it right now. So what's this spot? This is important by whether they're mixing two different colors to different color family in the skylight. Now, I'm starting off with white. You see this little cloud section. That's the part I'm trying to create. Creating the Cloud again, I'm using really less amount of paint on my brush. I'm not holding my brush upside down like this vapour particular region. I am holding it kind of like line the brush on the parallel to the canvas. And kind of moving my brush in drowned syndrome direction to create the Cloud. You probably noticed that I kind of move my brush in a similar direction when the sky is well, I'm not taking directly yellow and green on top of the blue is because if I do that, there's a high chance of the yellow and blue mixing up and becoming green. That's why I'm adding a layer of whites before adding the yellow. Let's paint over. All of these is going to kind of go in the background because the trees are going to come, so it's not going to be very visible, but stealing, we will do a very good job in creating the clouds and the sky section. Because no matter what is visible, it has to be beautiful, right? We want to create beauty. We don't want just because it's going in the background to leave it half-done way. My layer of white is done. Now what I'm gonna do is just give it like five-minutes time to dry because this light is kind of wet. I just wanted to dry a little bit and then I'm going to add yellow and orange on top of this. 6. Step 2 Sunrise Sky Part 1: Here is a quick overview of the entire step two. Where do you learn for creating gorgeous Andres sky? Using yellow oriented, how to blend it nicely with the blue sky without making it to the commodity. And at the same time, we'll also create some Eastern Trees are welcome to step two. So at this point we have created a beautiful landscapes guy with white clouds on it. And now we're going to convert it to the Sunrise by adding a lot of yellow and orange to it. But if say for example, you have any landscape where you want to create a blue sky with white clouds, you can just follow the step one and create a beautiful sky. Okay, and now thumbs the very important step of this painting, which I feel is a little difficult because you're converting your, you're combining two different color families and creating one sky. This is exactly how I lift my brush before. I haven't watched it or anything. It has blue from before and moreover white. Now let's start adding all the beautiful sky of the sunrise. For that, I'm going to do is take white and a little bit of yellow, mix it up. And I'm gonna come, the technique is going to be exactly the same. Since move in John denom direction, keeping my brush kind of flat on the canvas. Now the background is completely dry, the blue part. So no matter how much I come, coming your width of the yellow and white, It's not going to mix with the blue and become a green. That is why giving a little break in between, it is always good. So now you see I am creating clouds in this loose fashion, kind of creating later she did close. Look at how I'm doing the edges. Very light pressure on my canvas. Given just creating just a little bit more. I don't like to create a lot of paint on my palette and keep it ready for use. A light to create as in when I'm going ahead with the painting. With this, I am adding tiny bit of orange. Kind of starting to get somebody in the beans or drink pretty fast. So since last couple of days, I'm facing this problem where the beans and trying kind of fast, but I have to live with that. What happens in the processes? You end up wasting a little bit of pain. So that's why I don't really take out a lot of freight out on my beloved and take it out as in when I needed. Okay, let's keep moving. Look at how I am not going all over and kind of like doing this treated kind of things. Lastly, this please let me quickly mark up the redder it is looking at the photograph and trying to land. Okay, so now I can go all out and more of the sun's rays sky. Also one more thing is that the sun is coming from here. For that, I am going to add a lot of white here. First thing, go around and add the yellow, orange. Cool, this is done. Now, let's get to yellow and white and just cool around it. See, I am using the edge of the brush. I'm not using the flat side. I'm using the side of it because it's kind of like a small, narrow area. And I don't have so much of space, so I don't want to use the flat side of the brush. I'm not I'm trying not to get inside the sun area to stay outside of it. No, I am starting to add little bit more logistically that than seeing the team to width white, adding more yellow. Let's take a little bit more yellow and creating a different kind of texture. Just having fun in the process. And other than I'm doing now because it was mostly lose and connecting with the blue, I was going round and round production rate. And with very less pressure here, I'm adding quite a bit of paint and kind of creating this kind of picture. This is the technique that I showed, but this is not exactly the same because in that one, I was using daily this paint here I'm using quite a good amount of paint because I'm not trying to create the exact same texture, but kind of similar. So I'm just adding a little bit more orange to this. Let me add a bit more orange, shortest. 7. Step 2 Sunrise Sky Part 2: Some more orangeish yellow here. And whenever there is this coming to this joining of these two colors, I'm going really slow and adding really less amount of taking more and more of this. Starting to look critical. Upset about enjoying this yellow. Our sunrise guy is kind of done a little bit here and there, and that's going to be fine. It doesn't have to be exactly how it is coming up because even if I try this once again, it's not going to come out exactly the same, right? Understand the technique and do it. What looks good to you. This is pretty much done. I don't want this guy. I'm going to create a little bit of this distinct trees yeah, because It's not part of the sky, but since we are with the brush and we're kind of in the same color, area, colored zone. I am going to create the distant trees hill. A little bit. Also in this, for this, I'm mixing these three colors with white to lighten it up. Creating the line here. Very easy step, nothing much. Kind of brown and yellow mix. See when it is needed to the sun, I'm going to add more of the yellow. This is how you create a different shadows and lights in your landscape. As we're going farther away from the sun, I'm going to add a little bit more darker tones. See I'm using the short side of the brush to create this. Good. Look at this. Now the assignment is looking very nicely prominent. I don't see a 100% happy with how those the sun area is looking. So what I'm gonna do is I'm gonna download the brush. This is not the round brush that I've picked at the beginning. This is a little bigger than this. This is six. I think. I'm going to come here and add some more light. This I'm going to add a little bit of yellow blended. That's it. It's done. I can go a little bit more trying to mix the colors a little differently. Strokes a think. I went out to use that brush a little bit and do the spot a little bit more. Creating some light textures. For the distant trees. These are all trees basically. Look at the colors. The colors are very different because I'm kind of mixing all these three colors in different ratio every time there is no one particular ratio using just to create different shades of this color combination. If you're using burnt sienna, you will get absolutely different shape. That's totally fine. It doesn't have to be exact same shape that I am creating here. I quite like it the way it is done. Adding orange. That's it. This is done. The sky area is completely done. In the next step is to create area. 8. Step 3 Green Field: Here's a quick overview of the step three, where you learn to create a Greenfield using yellow without using any good. But how to blend these two colors and peer coaches, greens. Continuing with the same brush that I have. I'm not watching it. All I'm doing is kind of wiping it off. Let's add quite a bit of yellow. I am not doing it exactly the way you see in the photograph. Had drink it in an abstract way, like adding it the way I want to do without following much of what is there in the photograph. But I see the lights when they're falling, just going across and adding it like this. Now, watch it and picking up absolutely tiny bit of blue. Not too much. And I'm coming in at an ETO. How cool is that? C, absolutely less. If you don't, if you take up a lot of blue, then it can get quite dark and don't want a dark color here. We're keeping it light green. Like I said, I really liked mixing colors on my canvas and have fun in the process. Might have to take out a little bit more yellow. But until then I'm just do opposite this, that I'm just going in a little strange direction because this deviation is where the shadow of the tree is going to fall later by absorbing the head. Just going in a little bit of that shadow direction. The seal, I'm not trying to create exact shadows and does going around to different direction shapes and having finding the process yellow light and shadow because this is where the sun is and I'm adding a little bit more of a light yellow for and I absolutely Now how do you see what happens is undecided this. If I keep going over and over all these beautiful textures that have been created, it just gets it as let me show you what I mean. Let's say I just wanted to add a little bit of dark green. You'll see how beautiful that takes. You just fall. Just read a couple of strokes. Now, if I keep doing it over, I do exist. Go, once again is just going to get lost. So it's always very important to understand that while you're creating landscapes, just take a couple of strokes if you like it, to stop over there. Don't continue doing it. Because sometimes it is a problem in stopping creating couple of marks here and the random strokes. I am going to leave it at that because I honestly, I feel like continuing into multiple times. I have to follow what I'm saying. Just a few more of orange, yellows and just a tiny bit of monks. Again, I just want to fight off color in my brush and just add, that's it. The land is done. Now. I'm going to let it dry quite a bit. And then after that, not really dead quite a bit. I have to let it dry completely. And then we'll go on top of this and we will create a beautiful trees. 9. Step 4 Tree Trunk & Branches Part 1: Here is a complete overview of step four. Where do you learn to create tree trunks? Distant ones on the close-up ones by varying the intensity of the color. You learned to create some fine branches coming out from the tree trunks. Now, my canvas is completely dry before is absolutely dry it, and now I'm going to start painting all the tree trunks. For that. I had already taken this brush out, this exercise for another sizes really varies based on the brand you're using. Again, just look at the canvas size that you're painting on, then accordingly, choose the painting brush. I have a small brush. You're kind of peanuts not waiting buddy, I've seen for this size. And then I'm going to use this little bigger sized round brush also for doing some of the broad trends that might use later. So not the colors that I'm going to use for this is brown, orange, and black mix of all these colors. Now if you don't have this brown, I can very easily create this color by mixing orange and black as well. That is also one of the tips for you if you want to do that. One more thing is that when I use this small brush, I always mix it up with little bit of water to make it a little bit more diluted. Now, if you're using a TIG body acrylic, you of course, you will have to mix it with water, otherwise, it would be very difficult for you to work on that Trump's, but even with fluid acrylics also mixed with water. Now we will start by painting the distance of tree trunks first, and then we become in the foreground. So let's start with somewhere around here. Just creating lines that I'm able to. Now, I'm going to create some of them even lighter for mixing kind of white and brown together. Using little orange mixing. Just keep going in the background to make it light. Just keep mixing a little white to it. And also water. Now if you have a penile even more liner brush, feel free to use that. Because the more pointed your brushes, petal, three, you will be able to create. That's enough of the student once. Now I will start creating little bit more in the friend I want to use for that. Okay, so that's pretty much the distant tree chance. Now let's come forward and start making little bit more darker tree trunks. For that, I'm using more of brown and mixing tiny bit of black to it. You see by mixing these two colors in it almost burnt umber. So if you haven't bond on both the produce that way Do ways to outweighed with Dr. Let me do a couple of cure. At this time. I'm going to create some wrenches. Also kind of thickening the two junk. I absolutely love creating. John's like this and the branches. It's very tip of declamation. I am looking at the photograph while doing this, but what I normally like doing in this section is kind of play on my own and just keep adding wherever I feel like that Then following me exactly whatever is there in the photograph because that's going to be too much of pressure to do exactly the same. I don't have to do it exactly the same because it's my painting and I can do it exactly the way I want. So I know when you start painting initially from photographs, your tendency would be to follow exactly what you see in the photograph. But remember this, I mean, I'm telling you this after doing that for many years, like one Modena, you will realize that you don't have it to exactly do that. It can just enjoy the process and do little different. And that's, that's the beauty of your painting. It doesn't have to be exactly what you see in front of the sun. I am going to create a dark ones. I'm going to add some orange. This orange is more like the light all in on the tree. And creating a light. I'm adding the orange allele on one side of the tree junk. Now, this tree is on this side of the sun. The light is going to be on the left side of the tree trunk. That is how you look at the sun, thus the source of the light. And accordingly, you choose the light and shadow of the objects in your painting. If you don't have water, this is how you get kind of like broken branches to have a little bit of water and it's going to be fine. Let me know if you're doing a chance like this for the first day, many for enjoying the process because I feel so good to do this process. Hey, let's create a couple of more. I twist my brush like this and get appointed dupe. Very easy to do. Let's do a few of the next side. The dark ones. 10. Step 4 Tree Trunk & Branches Part 2: Water, water is missing in my brush shape. That's why he's giving me broken lines. Let's create more branches. I'm trying to keep my brush tip absolutely. Pin to create nice branches team pointed. Immediately, I'm going to add some orange as highlights. On the right side of the trunk. Q is one absolutely. In the front. Let's stick it up all the way. That's a lot of tiny, tiny branches that I keep doing lot of it. Now. I'm going to do a little bit more on the right side. And we will be done with the with the tree trunks. So let's do a few more. I hope you have understood how I am creating the light and shadow of the landscape by just creating the shadows and the lights in the appropriate tradition. Keeping in mind the sun position. By creating the chance like this, you want to create an illusion of a lot of trees in the background just by creating the trunks. Trunks on the right side. I think we pretty much done. Let's create the leaves in the next day. And if required, we can add a few more chunks in the latest stage. 11. Step 5 Leaves Part 1: Kerry is a quick overview of the entire state fight where we learned to create the beautiful, gorgeous leaves, the technique. At the beginning of this class. If you have not practiced the techniques, try it out before attempting. My painting has completely dried. I laid the tree trunks, the DRI quite a bit of give in it like 510 minutes is all dried and now we will get into the steps of creating all the lips. This is where the technique that I taught you at the beginning of the class is going to come very helpful. So I hope you've practiced and you are absolutely ready to rock this step. Let's start. So now in this step we are going to exchange between three colors, only, orange and brown mostly, and a little black in some places. Orange, black and brown. I was talking about with the lightest shade. And then gradually I will move on to the data sheets. And I am going to use a little bit of white to lighten up the colors. This is my first sheet that I'm creating with these kind of later lighter shade of orange. The lighter shades would be close to the sun area, right? Remember the two things that you need to keep in mind, less paint and less pressure. I'm starting off with the distant ones which get that leg, the light colored ones. Very light pressure. As we lead from the sun, I am going to start taking bait off. Some places, orange and in some places, but I'm not going to meet them both on the plate and I'm gonna pick it up. Alternately. Moody light pressure when I'm doing the distant leaves. Now, I'm moving on to quite a bit of brown. The leaves are all looking golden niche because of the sundries falling on it. I'm going to call it the left side first and then I will move on to the right side. As I am moving towards the left, I'm good uptake mode of brown. Exactly same technique, nothing different. Just twisting my brush less pressure, less paint. What I'm doing is also, remember when teaching the technique I mentioned this technique workspace, only when you use a combination of colors. So not just one color, you always have to use a mix of two colors to make this. They just look really on music. Right now I'm switching between kind of black and brown. This is also a place of hiding any of the branches that you did that you don't like. This is a good place to hide them. Look at how once you get a hang of this technique, you can have so much fun with this step. I really want you to enjoy this tape as you do it without taking any pressure. I'm trying to do it in the gap because the trees come in the front. If I do on top of the junk, I'll have to bring the trunk once again. So say for example, by chance while you're doing this, if you get paint a little bit on the trunk, you can always paint it on with the small round brush that we did earlier. I'm trying to not make mistakes so that I don't have to visit, but even if you have to read with it, it's fine. I am again exactly not following the painting when with my own intuition and adding little leaves here and there. Starting to look quite nice. Again, there is a chance of what do we need. So while doing it, what I like to do normally is take a step back and look at it from a distance and see how it is looking. If I wanted to add more or leave it at that. That's how I decide. Also add some light sheets, some Doc sheets onto neatly in places based on how it is looking from a distance because we need to look at it. Look at a painting. So close, like I'm probably just one feet away from the beating is kind of difficult to understand what I am doing. Occasionally I take a step back and look at it and see how it's looking. I'm treating couple of Doc Sheets who are in-between looking pretty good. Moving on to the right side now. Now on the right side, it's pretty dark. If you look at the photograph, It's quite dark and black because it's against the sundries. I am going to add quite a bit of black over mixed with a little bit of audit. 12. Step 5 Leaves Part 2: I hope you are having fun in this process. And you are able to create 3D gorgeous shoes because this picture is what is the beauty of this painting. Keep alternating colors, keep alternating. Single brush around Orange. Do you see now that I'm using only orange and black? It's kind of mixing up to create the brown that I was using earlier. I am actively avoiding taking, but I'll know because brown is kind of getting created in the process. What happened here is I picked up a lot of paint, which is not good and that's why I wiped it off on the tissue paper. It can be a little tiring because you have to just keep doing this. You have to pick up paint multiple times because we're not picking up a lot of beta one, so we have to go back to the plate multiple times. But that's fine. Just keep doing that. Because the end result is so pretty when he was just keep doing that and rather than taking a lot of paint at one side, I am doing it very, very fast. I understand that. But take your time while you're doing this. If you're doing it for the first time, I have been doing this for pretty much by six-year-olds. Now, this technique, I kind of can very intuitively switch between colors and do it nice. But if you're doing it for the first time, take your time, do it slowly. I still remember when I kind of invented this technique of in 2016 or 15. And I was so excited and it needs to take me quite a lot of time during that time. Like I never used to do it so fast as to go kind of slow it nicely, but I have done it like Kinko's and times probably by now. And it's kind of easy for me now. We can let this loose ones in the top corner on the kind of look so nice. Let's pay attention towards the age of all these things wherever you are doing this, the ages have to be really nice. And that is why that is what will create the beauty of this meeting. If any other painting, whenever you're doing this technique makes sure the ages are done really well. You're taking your time focusing on it and doing it nicely. Now you can add a little touch of red or just probably add a little bit. I did not use a red when I did it last time. But just adding little test appropriate to make it look really bright. Only in some places the rate is not going to be very visible. This is looking very much like autumn trees. Just little bit here and there. The moment Jeanette comes into picture, it just starts to look. Realize I feel like I've done a bit too much, so we will try to keep it a little less. I mean, again, it's not nothing right or wrong. It's just according to your test, how much you want to do. The leaves are done. I'm not going to add too much to wait. Just a few dark cheats, human, they're in-between in this video. That's it. 13. Step 6 Tree Shadows: Carries a quick overview of the entire step six where you learn to create the shadows. In this step, we are going to create all the shadows of the trees falling based on the location of the sun. The sun is hill. All the shadows are going to fall in this direction as you can already see in the photograph. The brush that I'm going to use is the thin brush that I used for the branches. That's the browser. I'm going to use. Some of the shadows are going to be clean based on the tree trunk size and some of them are going to be thick. So whenever it is take what I'm gonna do is what it is. You can use the Brush direction like this because it's pretty thin. Whenever it is thick, I'm going to move the twist the brush and this side, use the length of it and create a thick one. Okay, So that way I don't have to use a thicker brush. I can use it. You do the technique just with one brush and rather than switching multiple brushes, the color is going to be the same. It's good to be green, so I'm just creating a little bit of green over here. And let's create it. Less pain. So you see I'm kind of creating broken lines. Try strokes, adding little bit of water to it. For this, I need a bit more of paint. I'm holding my brush and this dimension and creating little shadow because this is a big area. The trunk is pretty thick so it's going behind this tree. So I'm just being cautious and not getting inside the trunk and creating the shadow from behind. One thing, important thing to notice here is that direction. So it's not all parallel lines. It, as this is how the perspective is going, right? So this had shadows are going like this. The lines are also changing. The angle. I'm adding a little bit of black and brown, the sheets in some of the places. Just to leave a little bit of color contrast. This is what happens. I think it's starting to look really cool. I'm very happy with how it's turning on unnecessarily. I don't want to create a 3D shadow of every chunk, just doing a few of them. I think I can stop here. I think the perspective is looking fairly well. I just feel that this line, this angle is not absolutely right. This should have been a little bit more slanting, but that's okay. It's okay. My it's my painting. It's just a few lines here and there is buying. Steel. Being a perfectionist is kind of this bothers me if the angle is not Luddite or the right angle that it should be. I just feel like doing a little bit. This is true. I think that's good enough. Just watering it down a little bit more towards the right. Cool. So that's it. Now, I'm going to take the tape off and add a few more final touches to the painting in the next step. 14. Step 7 Final Touch Ups: I think Moscow EEG is like one of my most favorite step because it looks really unclean when you paint on the tip and the mosque is, you actually get to see the real painting on all four sides. This masking tape that I use is called scotch tape. You can Google scotch tape and find it on Amazon. I bought it from Amazon. This H is not coming out well, this is a problem of scotch tape or any tape masking tape that you use. Sometimes this happens occasionally when the tape does not come off really smoothly. Out of all the tips that I have used, I feel scotch tape is one of the best ones because it doesn't kill off any of the paint or the edge of the painting. Here is our final painting. It's almost done. I'm saying almost because I've just got to add a little touch ups here and there. So you can just watch this tape and you can feel free to ignore this also if you want to. But I just feel like adding a little more branches coming out on some of the sides. And this time what I'm gonna do is earlier I did the leaves with this favorite brush, right? And now this time what I'm gonna do is with this brush, I am going to turn round brush. I'm going to add a few more leaves. So these are pretty final touch ups. So you can just absorb this step, then do it. If you pick a few of the techniques that you'd like from here, you can do it in your thinking as well. Start off with adding a few branches. Mixing black and brown. That's pretty much about blanches. Finally, we'll add a few more of the lease. Length is loose ones. I'm not really liking the texture that I'm getting from his flesh. Same brush but a little old ones. So which is it has a little bit. That's it. I'm pretty happy with it. How it's looking at is adding a few highlights on the tree trunk necessary? Just adding a few lines here and there. These are some of the things that I just loved doing at the end of the painting just to create a random marks here and there. The bay financing and I'm switching to the peanut round brush and then assigning, I am going to use the rate. Our final painting. 15. Hyde Park Outro: Now that you have reached optimal this video, I believe you have completed creating these beautiful sunrise in Hyde Park painting. Let me know how was your experience, how were you able to create this painting? And I would love to see what you have created. And if you have any questions, any doubts, feel free to post below and ask me if you have any doubts, if you faced any difficulty while creating this painting. So that'll be your project for this class. To be able to create this painting and hang it on your wall or gifted to somebody. Also, I would give you one more project to do is off months. You've learned the techniques and you're created this painting. Open the, open the reference image. If you look at the reference image, you would find quite a few differences between how the photograph looks at how I created this, because I kind of created this in my own way. So what I would like you to do is look at the reference image directly and create a painting by looking at it without referring to my class or without referring to this painting that I have created, I have showed you in this class. So do it, do it in your own way, give it a shot and see what you come up with. Because even if you look at the same reference image, we all look at it differently. We all have our own perspective of Louisville looking at the same reference image. And I really want you to experiment with your learnings from this class and come up with your own painting. You have two projects in this class. One is creating this painting as I taught you. Because just by watching and learning, you will learn all the techniques that I showed you in this class. And the second project would be to create one more painting, just looking at the photograph and show me. I am also going to try it and posted under the projects. And I look forward to seniors. Thank you so much for joining me in this class and I look forward to seeing you in the next class.