Autumn in Gouache : Paint 2 Scenic Roads Inspired by the Season.

1. Welcome to the Class!: Autumn is nature's way of showing us how beautiful change can be. It's that time of the year again, when the days start to get shorter, nights get longer, leaves change colors and the temperature starts to drop. It is one of my favorite seasons, but I still haven't experienced autumn and it's true authentic form. One of my things on the bucket list is to go on long road trips in the season so that I can experience the beautiful change in the shades of nature with my own eyes. Hello everyone. My name is bile and welcome to yet another Skillshare class. I'm an artist and an art educator based and periphery, where I take classes online and offline to help people fall in love with art. I go by the name that's simply aesthetic on Instagram, where I'm constantly sharing everything that's happening in my daily life. And all my artworks are displayed there. In this class, we are going to go on a wonderful painting journey together to explore some autumn inspired artworks using the medium gouache. I love how versatile this medium is and I cannot wait for you to try it out to paint these two beautiful roads of autumn. Don't worry if you're a beginner because everything in this class as explained in real time, which means you can gathering your supplies and paint along with me. I will also be sharing some tips and tricks that I tend to use when I paint using this medium. We'll start off by knowing the right type of art supplies that you need for this class. And then explore some really fun gouache techniques that will help you understand the medium vector. Once you have mastered our gouache techniques, we'll learn how to apply them to paint these two beautiful autumn landscapes together. If this is something that you resonate with us and join me in the class and I'll see you inside. 2. Materials Used: Awesome. Let us talk about all the supplies that we need for today's class. We will be discussing each and everything in detail from a color palette to the paper brushes, everything. So the first thing that I want to talk to you guys about is the gouache paints. I'm going to use the squash beans from Winsor and Newtons. I have a bunch of different colors laid out in front of me. And for white, I will be using this gigantic tube from Bruce, true, you can use any brand and this is in the shade titanium white, which works out surely when we are trying to tone down the vibrancy of the colors. I have cadmium yellow, cadmium orange, Alizarin, crimson, burnt sienna, burnt umber, sap green, Prussian blue, and jet black. So you can use these colors or you can find similar colors in your palette. We have chosen very warm colors for our autumn class. As you can see, we have all those reds, yellows, and browns. We will be using some shapes directly and we'll be mixing some more colors along the way. So more on that in the project lesson. Next, let's talk about the paper. Over here. I'm going to use this watercolor paper from HR. This is a 300 GSM, 50% cotton paper. It's in the size A4. I will be cutting this A4 paper into half and using that for our class project. As you can see, one part is missing. It's a nice textured papers so it works out really well. Gua Sha is not very picky with the paper. So you can use any paper above 230 GSM. And you're good to go. Next, let's talk about the brushes. I'm going to use a bunch of different brushes here. But just to give you a basic idea, I am going to use a size 18.14 flat brush. Now I use the flat brush for making clean base colors when I want even blends. Next, I have three round brushes, so I have a size eight round brush. As you can see, the tip is more rounded here. I use this for just spreading out the colors. Next I have a nice long round brush, which means that the tip comes to a really fine point and it works out really well for making more details. This is size six. I use a size six brush and this size one liner brush for all my details and the cheese and the leaves, all those details in the branches. I tend to use those two brushes. Next I have a spoiled brush. This is literally some brush which lost a shape, but I didn't want to throw it away because you can get gorgeous textures using a spoiled brush. Especially when you're trying to paint autumn scenes. You don't want to work a lot on the individual leaves. Then you can also use this nice rough fan brush as well. So pick whatever is more easier for you as foiled brush or a fan brush, whatever is convenient, you can use that for creating the texture of your leaves. So now that we're done with our paints, brushes, and paper, let us discuss the other materials that we need. I have a mixing palette. This is just a ceramic plate that I'm using as a mixing palette. Next, I have two jars of water. One is a dirty jar of water. As you can see, I will be using to clean my brush. And the other one is for a much more cleaner supply when I want to make fresh colors so that my paint doesn't get muddy. Next, I have these kitchen towels which are thicker so it absorbs a lot of water. You can use a cloth rag, whatever is available with you. Next, I have a pencil and an array, an eraser, obviously to sketch things out. And I have this masking tape as well to secure the paper on all four sides on this wooden boat, actually, I think it's a clipboard. So I tend to use this as my base because it's nice and mobile so I can just move it around, bring it closer to me while I paint. I tend to use this, make sure that you just taped down the paper. Well, that is the only thing that you have to really keep in mind other than that we have everything sorted. So let us quickly get started with our future lessons and discuss some quash techniques. 3. Blending, Layering & Brush Techniques: Awesome. Let us start learning some techniques. And before we move on to that, let me give you a quick overview about the medium. Gouache is an opaque medium with layering capabilities of acrylics. And it can be G wetted using water, just like watercolors. One squash is dry. It has this gorgeous matte finish. And because of its matte finish, It's very easy to digitize your work. And that is why a lot of illustrators and artists prefer this medium. Because of its matte finish. Wash the darker colors dry, lighter. Once they are completely dry, the lighter colors tend to dry slightly darker. So that is the only thing that we have to keep in mind. It is a very versatile medium because it gives you the opportunity to fix your mistake. Unlike watercolors, once it's gone, it's gone. But with quash, you can always go back and fix your mistakes. Don't turn the vibrancy of our color in gouache, we tend to add white instead of water because adding water is going to make it have a thin consistency and it starts to behave more like watercolors. And lastly, always use freshly squeezed pin from the tubs or tube fin you're painting with quash and that is it for our short overview. Alright, so let us start with our techniques. Now I've taken my A5 paper. This is the same paper that I'll be using for the projects. And I've colors on my palette, such as yellow, orange, red, and white. I want to show you a bunch of different techniques that you can use to understand gouache better. So we'll be exploring brush techniques, consistency, blending, layering. You can also not only use this for this class project, but it'll also help you understand the medium and use them in your own art, Artworks as well. So I have my brush and this is freshly squeezed paint, as you can see, it has a nice thick, creamy consistency. And it's thick to a point where if I just brush over on a textured paper, you can see that it doesn't cover the entire papers as smooth as you'd want. It. Toilet needs a little bit of work. When you're working with gouache, you want to make sure that your brush is wet and you also have a little bit of water into your paint because when you go over on your paper, it creates a nice, smooth blend without textures. Don't get me wrong. That texture can be used for a lot of different things. I use them for a lot of different things. But when you're working on the first few layers, It's better to add water into your pins to get a nice milk like consistency. As you add more water into your paint, your paint gets lighter. So you can see here I'm using a lot of water and immediately lost its opacity and it started acting like watercolors. You can use squash in many different forms from different consistency. So you can have thicker consistencies, you can have thinner consistencies. Now, I want to show you that when you want to get a lighter color in gouache, you have to add white into it. So usually with watercolor is B, we're just adding a good amount of water into the paint to get a lighter shade. But with quash, you have to add white to it to get a lighter shade. Each time I'm adding more white into my mix. As you can see, it loses, loses its yellow vibrant color and it gets into this nice muted tone down pale yellow sheet. Here's what I've tried to explain. This is the consistency along with how to get lighter shades in gouache. Next, let's talk about blending. Now I've spoken a lot about blending in a lot of my previous classes. But in this one I want to focus more on what we will be using. This method adds for the class project. There are two types of planning that I want to show you, which is just the direct color blending that we do in our milk like consistencies. So I add a good amount of water because that's the base layer and I want to build on it. I'll explain more why that is the case in the larynx section. But for now, I want to show you how you can blend two colors together. I'm starting off with the yellow sheet as the base, and I'll add orange at the top. Now in this section, you can either directly mix them because they are both warm colors. It's very easy to directly mix them. You're not gonna get any muddy colors when you mix them together because they are still on the same side of the color wheel. You can just go in this left and right motion to blend the yellow and the orange together. This is one way to do it. The other one is to just use white in the middle while the blending is happening so that you don't get the muddy colors. But right now we're going to focus just on the direct color blending, because this is the easiest form of blending. The only thing that you have to keep in mind is that you're going in this left and right motion and your paint and your brush has to be wet. It has to have a little bit of water to make the blending process easier. Now the next type of planning that I want to show you is with a round brush. I was using flat brush all this while. With a round brush. I want to show you a slightly wet on wet technique for your gouache. Now, wet on wet technique is definitely much more easier when it comes to watercolors. But they can be applied in a very similar manner for our gouache paints as well. And instead of a wetting our paper first, overused, I'm just applying a layer of paint. While the paint is still wet, I'm adding another color, as you can see, because this is a nice water-soluble medium, it's slightly blend with the color that was wet. I'm just adding different blogs as you can see in different sections. And as soon as I add the other colors, It's slightly blend with the color that's next to it that has water. Now this works really well when you want to build on as a base for something else on which you're going to layer different textures on. Let's say you have a tree and you want to get the base colors in so that when you add in textures for your leaves, you can still see a hint of green in the background without having to have a plain dark background. I'll show you how you can use this really fun technique. The only thing that you have to keep in mind is that your paint has to be wet. When you are doing this, you can add different colors while the paint is wet and it will just slightly have this blurred out effect. The sides are going to be blurred out. It's not going to be exactly like what happens with watercolors. But you still end up achieving a little bit of glow doubt effect, which I really like when I want something in the background. These are the two blending techniques that I wanted to show you that we will be using in our class project. And I'm very excited for you to see how we can apply both of these. Let's talk about the next technique, that is the layering technique. Now when it comes to layering, the only thing that you have to keep in mind is that your base layer or the previous layer that you've added should be of a thinner consistency as compared to the layer that you're going to add over it. Now what I mean by that is if you have a thin layer at the base like I'm using in this block is the nice milk consistency that I generally tend to use for my base colors. If you use this and add a thicker consistency over it, chances of reactivating the base color are going to be a lot less because it's, it's kinda the consistency is thinner so it will not reactivate as much. But if I were to have a really thick consistency and add a thicker consistency over it, it will reactivate the base color and you'll end up picking up that shared while layering. Now the next blog that I'm adding right here with the red and the orange. It's of a thicker consistency, almost like a cream like consistency. This one, when it dries, even if it's fully dry, it. When you add another layer over it, there are chances that you might pick up the base color and I'll show you how that happens, which is very cool. And that is why I prefer to have my base layers. The first layer is going to be really nice and thin the layer over it, it's going to be slightly thicker or of the same consistency rather, but mostly my last few layers are of thickest consistency and I make sure of it. Now both of these blocks have dried. So I want to show you how when you layer over, let's say with white on a lighter consistency, how nicely it clears over it without reactivating the paint. But whereas it comes to this thicker blog, it will reactivate it. It's very cool. Let's watch. I have taken my round brush and I'm just going to sway over, make a few different shapes, make some leaves, make some lines, make some curves. Go ahead and make whatever shape you want. If you see the wide stance, nice and opaque over this section, right? You don't see orange or yellow right below it. And this happens because my previous layer was lighter. So if I layer over it, you want very easily reactivate the paint unless you're going over and over in that section a couple of times. Now the white might get slightly toned down. So usually when I'm adding white into any over any other darker colors, I make sure that I do two coats. Now, section in the second block, if you see the white doesn't stand out as much and you can still see it's reactivating the red and there are some streaks, no matter how thick of the consistency of white is going to be, it's still going to slightly reactivate the red and it will turn out to be slightly pink or even your strokes are going to be pink. Now, it's not that it's completely wrong and it's not fixable at this point, it is definitely fixable. You just have to wait for this to dry and layered over. And then it gets back to that proper white shade. But As a personal preference, I prefer the base layer to be lighter. So all your skies, all your base colors are either going to be in the milk like consistency or inconsistency slightly lighter. So that when I layer overhead maybe four times, five times, doesn't matter. It shouldn't reactivate the paint at the base. These are just a few things that you have to keep in mind. It also comes with practice and you usually end up understanding what works for you when you keep painting regularly. Now the next thing that I want to talk to you guys about is the brush techniques. It is very important to know your brush and understand the wonderful capabilities it holds. And I'm going to show you a couple of different brushes, flat brushes, round brushes, liner brush, and a few spoiled brush for textures. I want to show you how you can use these brushes to achieve beautiful strokes and where you can use them. The first one is a flat brush. Now with a flat brush, It's very easy to apply paint evenly on a larger surface of area. This works really well for blending for our skies are just adding base layers. It can be used straight in it's flat side, it's sideways or perpendicular to the paper. When you do that, you get thin strokes with the flat brush. When I use it flat at 90 degrees and then use it as a vertical, perpendicular line. I get three different stokes, fat, slightly medium, and the thin stroke with my flat brush. Now this also depend on the size of your flat brush. So keep that in mind. Next I have a round brush. This one is much more rounded, and the second one is much more pointed. Different variations. Let me show you what you can do with your normal round brush. This one's more rounded at the edge. With the maximum pressure that I apply on this brush, I get a slightly thicker stroke covering a good surface area. If I apply minimum pressure, I get slightly thinner strokes. And with the lightest pressure holding it perpendicular to the paper, I get really thin brush strokes. So it all depends on the way that your brush looks, the shape of your brush, and the amount of pressure that you are applying. I'll show you what I mean by this. This is a long round brush and it has a really thin tip. So as you can see, the end of that brush is slightly pointed. It's not as rounded as the previous one. And I end up getting very, very thin strokes using this brush. And this one is from the brand Princeton. Whoops, I just ended up dropping my brush, but I'm just going to fix that section. I'll show you the other liner brush next. Let's try the size one. Thin, long liner brush. By that time, I'm just going to get rid of this paint and get back to you. Alright? Now that I've tried to salvage my paper somehow, let us move ahead without paying much attention to that mess. And you have this long round brush, which is from the brand pan art. And it gets these really thin strokes. So usually I end up using this brush with all the details in my trees and all the finer details wherever I need them. So as you can see with the maximum pressure, you get nice thin strokes and then you have the newest drugs based on, based on different pressure that you apply. Next, I want to show you how you can achieve the textures for your autumn trees easily using a spoilt brush. So I tend to use a spoilt brush, which is an old brush, and its bristles have fanned out. So it doesn't make sense. It's not going to retain a shape. But instead of throwing them, I like to use them for a lot of different textures. Now, I tend to press on it, you know what, the cleat just to make sure that the hairs all spread out. And with that, when I tap in, it creates this rough texture, fanned out. Texture and effect for your trees where you don't have to go on the individual leaves and other details. So all you're doing is just tapping. You can also vary the tapping depending on different pressures. You, if you apply very light pressure, you will get slightly thinner, lesser strokes. And when you add more, you'll get a more spread out version. Now you can do this using a flat brush, I mean a fan brush or spoiled brush over here, I'm using a small brush, but I'll also show you how you can do that with your hog hair fan brush, which works are really good in terms of the texture. Now, for my autumn trees, all the foliage section of my autumn trees, I just tend to go around in different colors. So I add the reds and orange and yellow. There's not really any exact method that I follow. I just wanted to let Ella fall and I will vary between these yellows and oranges and browns. So wherever in the reference picture I see reds and oranges, I just tend to put it depending on that. And then to layer over it, I add in the lighter colors. That's more on the layering bit. I don't want to show you that exact section because we'll be covering that when we're doing the class project and following the same method. Once we're done with, let's say the outer parts of the tree. You can use your thin brush to just make the trunk. I'm roughly making a shrunk, not exactly focusing on the shape of the tree. So I tend to tap in, let's say the foliage section. Then draw the trunk and the little branches that you see and then go over and tap and again, just to cover in that branches that we've added over so that it doesn't look like the branches just outside and the trees are behind, the leaves are behind it. So I tap the foliage, make the trunk and the branches, and then tap over to slightly cover those bits at the top. So that is how I work with the trees. As you can see, like I was saying, I take a in the lighter shade, usually adding a little bit of white to the yellows and oranges, whatever I'm using, step in and this way it covers those branches that you just meet. Next, let's just try a similar thing, similar tree using a fan brush. Now for the fan brush, it makes the process slightly easier because what I tend to do is add in, let's say the red color to the left side, left half, and the right color, not right color, the orange color to the right half. This way I have two colors on my palette, so I just turn them around. Wherever I want to add in orange, add flip and add orange, better add red. I flip it to the red side and added so it's usually works really well for dual colors. And in case you want to save time, mostly the texture between both of them is slightly similar. I feel like with the fan brush you get very, very, very detailed strokes with the spoilt brush, you get slightly fanned out effect. Which is really funny because you think with the fan brush, you'll get that effect. But eventually both of them looks the same. I tend to switch between spoiled brushes and fan brushes just to add in different textures. Mostly for the fan brush, I use as the base. And if I want to add more details, more leaf structures, I tend to use the spoilt brush because I feel like that gives me more details. And just randomly added that switching between oranges and reds. And then you can just make the trunk again very similar to the previous one. And that's exactly what I'll be doing in my class project as well. Obviously, you can play with the shape of the tree. I'm not entirely focusing on the shape because there are way too many trees in our class projects. I just want you guys to have fun with this tapping method because, you know, way too many details and information eventually kills the fun out of what we're here for. So don't worry about getting the perfection in your cheese. Just focus more on just trying this technique out. Obviously, you can mask this with a few more. Autumn paintings, fall paintings look, look at the reference picture and see how the colors look. So it's always all about fun and exploring. Right now I just want to share my secrets with you and as to how I make my trees. So as you can see, it's pretty easy, right? It was just tapping in using a spoiled brush or even a fan brush to achieve beautiful textures. And you can add them in different places, different ways. You can make a cheese looked a friend. A lot of things can be done, but this is the method that I tend to follow. To add in a little bit of highlight, I just roughly use a thick consistency of paint, brush it over to add in a little bit of details to the trunk so that they're just not flat. Of them that I just leave this as is, this is very, very minimum detail trees that I showed you are using a fan brush and a smaller brush. So I hope you enjoyed learning different techniques and knowing how to use them. In your class project. We are going to combine different techniques to make our class project. And it's gonna be so much fun and I'm really excited to show you how each effect is done. Make sure that you practice this just to get a little bit of hands-on experience before you move ahead with the main class project. So I'll see you in the next lesson. 4. Project 1 Part 1 : Sketch & Background Layer: Alright, so let's start with our first-class project. So if deep down my paper on all four sides, this has an A5 size paper. I've got all the colors that I mentioned earlier on my palette. So I have yellow, orange, brown, black, a little bit of blue and white on my palette. This is what we are going to paint today. You can download the reference picture from the resources part of the class. And we'll have this reference picture with hue. And you can follow it along when you're making the sketch. But if you don't want to do that, that's completely fine. I will be showing the reference picture here. Here's my take on this painting. I did try it out before showing how to do it. You guys, and I'm absolutely in love with the way it has turned out. So I'm really excited to go about this painting. Alright, so let us start with our base sketch. As you can see, we've got the road, right and you've got trees on either sides of the road, turns slightly when it reaches the center. And it comes from two different sides. You've got the lines coming in from two sides, leaving a little bit of space on the left side, I'm going to make a slant line. You can scattered dots slightly below the center of the pin people. And then you can join the line and right at that center, make a line that is parallel to the base of the paper, right? This shows that at that distance, the road exit turn, it's not a straight road, right? It's okay if you want the road to be straight. But in this reference picture, the road turns towards the right side. And that is exactly what we want to show. For the, for the line that is coming in from the right side, you are going to bring in the line leaving a little bit of space on the right side of the paper, again, slightly below the line that you already made, right below that, leaving some space are going to curve that curve, that section. It doesn't have to be straight turn. It has to be slightly curved, almost like making a very thin C shape, right? So we've got the rods in place. I'm also sketching out the markings on the road just to give me a rough idea, this does get covered when we are going to paint the road, add in degrees. It does get covered, but it's totally fine. This just gives us a nice idea about how the road looks. Gotten the roads. Now that is, move, move ahead and sketch out the other elements that we see. If you look very carefully on the left side, we have one chunk of land, a slanting up. It's like a hill that you are seeing on the side. Of course, it's endless. We're not seeing beyond our sketch. So there's a little slant right behind. That is a little bit of the hilly section on which the trees lie, which is right above that turn off the road. So Scott trees on the left, right, and in front of us. Now I'm not going to draw each and every detail of my tree. This is just a basic sketch. Once we start painting, we add in more details. At the back, right, right behind all this tree that you see, a hill sloping downwards. You can place that in roughly as well. Then of course you have so many trees on the left and right sides. You can sketch them out or you can just leave them as is because they get covered. And you have this basic sketch with hue, which shows you where the road is, where the land is, on the either side where the leaves are. So once you're done with that, we can start painting our artwork. Alright, so let us start with the sky first. I'm going to use my size two flat brush for the sky wash. I'm going to make a mix of Prussian blue. I'm just going to add a little bit of water into my brush, adding Prussian blue and a little bit of black, and then lots of white. Now when you do this, you get this very pale blue color. We want it to have a slightly gray touch to it. And that is why we add black into that mix so that it looks slightly gray and makes the sky look like it does in the autumn season, right? You don't have a lot of sun. You have a lot of clouds because of which the sky looks just gray and plane. So to get that color and not make it look too gray, you can make a mix of Prussian blue, black, and white. So let us start with the top of the paper. I'm going to move in this left and right stroke. If you notice the consistency of my paint, it's not too thick. It has a very nice milk consistency, which works really well for background washes. A slightly thinner consistency would work too, but you'd have to add two layers of it to make it nice and opaque. Now, I'm going to go in this left and right motion and slightly move downwards. And each time I move downwards, I'm going to add a little bit of white directly on my brush and then blend it on the paper itself with a little bit of water. The idea is to have a gradient in the sky where you have this greenish mix, which is darker at the top and slightly lighter when it reaches that area of the hill that we sketched out, right? So it's very simple. You're just moving in this left and right motion. Unless you see or until you see a nice plane force in the, in the sky. So a nice gradient is where you're supposed to stop. Obviously, you can go over again to fix your blend. But if you get a nice gradient, like it looks right now, I've got darker bits and the lighter bits, you're going to stop and wait for it to dry. Now that my sky is completely dry, we're going to go ahead and add in a base wash for all the other elements that you see in this sketch. The road, the little sections on the either side of it, the heel, we're going to add some colors to all of them using our second blending method, where you just tap in the colors while the paint's still wet so that the edges blend with one another. So I'm going to go ahead and swatch out burnt sienna, burnt umber. And right now I'm not gonna make any mix. And even if I do is just going to be to get a darker version of the brown. So to my burnt umber, I've added black to get a darker value of the brown. Next we have orange just directly from the tube swatching out. We've got a little bit of the crimson color. This is the alizarin crimson sheet. You can also take another bit of yellow, but I'm not going to use the yellow shade right now. What I'm going to do is just add a very thin consistency of the paint. It's almost like like what? I wouldn't call it exactly water because that'll be too thin. But it's not milky as well. It's slightly, slightly thinner than the milky consistency that we use. Using my round brush, I'm going to start off with the burnt sienna color. And below that, add in little bit of burnt umber, add a little bit of black. So over here, I'm not really thinking a lot. Alright? There's not a lot of thought process in involved in the way I'm adding this color. I'm just trying to add different variations so that it just doesn't look too dark at all places. What a little bit of orange, I want a little bit of a warmer brown. I want a little bit of BB, let's say a darker, deeper brown shade. And that's exactly what I'm doing. Just playing around with different browns. Even if you look at the reference picture, the base that is there, it's very dark and it has different tones to it. It's not pure black. And that is why I wanted to play around with this little section where we add in different colors in the base. And then of course built over this little section, I'm doing all of this while the paint is still wet. As you can see, the paint does not completely blend with each other, usually, like it does with watercolors. When you have a wet surface, you add in the paint and paint spreads. It's not like that, but the edges really blend into one another and it's slightly softer. And that is exactly the look that we want. We don't want it fully blended. We just want the edges to not visually sharp so that we can build on this. So I'm just playing around here with the brown, as I mentioned, little darker browns and warmer browns. The only thing that I'm keeping in mind is that I'm having a little bit of darker browns where I want to show a difference in the pieces of land, let's say right above the road where the road tones, I want it to be darker there so that I can show the depth in that little section. And then right above the left side where we had two pieces of land. I want it to be darker there as well so that we can add inside the lighter colors in the section that's right next to the road, which is closer to the observer. Other than that, feel free to just play around in that section. So adding some brown, some orange, some burnt sienna, burnt umber appear around and add in the colors. The only thing that you have to keep in mind is that you should be quicker. So don't think so much with what color to please play around. Be quick. The idea is to have these blended edges with one another enough, none of course, and are gonna be really pure blended edges. But of course it should happen while the paint is still slightly wet so that the edges are not sharp and it doesn't look like you are layering over one another and just end up looking like one single layer because that's the look that we need. Right now. I'm just moving on to the next section over here. I've started with a little bit of the brown and add it in red because In the reference picture, that little section is a lot more red. And I see a lot of different shades of red in that section. So that is why I went with the base color as red in that area, of course, mixed with a little bit of orange and brown as well. So I'm again using the same method as I did earlier to blend everything together roughly. Just to add in a background wash. It does go through its stages where it looks very crazy, but it gets better when you add in the layers over it. Alright, now we're moving on to the section that is on the right side of the road. So I'm using a mix of orange and red with a little bit of red or leads more orange over here. And I'm going to apply it on the right side of my road and then add in the deeper colors right next to it to show the depth in that area. Now, we're going to have a lot of trees coming out from that section, and that needs to be slightly darker. And we can achieve that by just adding in a little bit of darker, deeper browns after we add in the orange color right next to the road. Once we're done with this section, while this dries, let us make the mix for our road. So I'm going to mix black paint with white. And I'm just directly gone into the section where I mix the color for the sky. But the idea is to mix black, white, and a little bit of blue together. And that will be the color for my role. Now I'm not going for perfection here. Like I said, this is my base layer. I will be adding another layer of this just to make things look better. But I'm starting off with this nice grayish color. And I'm moving my brush as you can see, in the direction where the road is, right, which means that it's slanting when I'm making my brush movement in that exact motion. To achieve that effect, you will see that there's almost like a line that I'm following from half of the paper I wanted slanting towards the left. And on the right side I'm going slanted towards the right, coming to that center point. Now of course, we have different colors for our roads to give it that effect, where it turns, the area that is going to turn, that section appears lighter. And the ear that's closer to the observer appears to be darker. So we're just roughly going to place in the colors right now. And this is just, like I said, base color. So you can achieve this lighter gray mix by just adding white into the paint. And brush your move your brush in the direction of the road, like I said, to get that nice blend. Otherwise, it will look a little bit weird. So make sure that you are brushing your brush over that section in the direction of the road like I did. But again, this is the base layer, so do not worry about perfection once it dries, we will add another layer over this to make everything appear much better. I'm really happy with the way this looks right now. Of course it has stages like I mentioned before. But trust the process after adding a couple of more layers over this, it turns out very beautiful. And it's fairly very simple to paint. Do trust the process. Once you're done with this, much of the background washes, you're going to wait for this to dry. And in the next lesson we will be adding some details to our foliage, adding in all the fall colors. So see you in the next lesson. 5. Project 1 Part 2 : Adding Foliage Layer: Alright, now that our base is completely dry, it's time for us to add another layer over this, to add in the textures that you see. For the texture, I am going to use my fan brush, which is this nice hog hair fan brush. It's really love. It's, the bristles are really spread out so it creates a beautiful texture. If you don't have this flat brush, you can also opt for this spawned brush, like I was mentioning earlier. You can use this brush to get in the same type of textures, but either of them will work the same way. So pick whatever you like, switch between them as well, just see which brush helps you get that texture. I'm going to start off with the spoiled brush for now, and then switch to my fan brush later. We'll have to add in different colors in this area. And these colors have to be lighter as compared to what you already have. Which means if you are going to add a brown, yellow brown needs to be lighter. Since we haven't added a lot of orange. If you add an orange directly without adding any white to it, it will show up and it'll be a nice warm addition to that shade. But here I'm using a mix of burnt sienna and white. As you can see, it's a lot lighter. And when I use the shade to stamp over roughly over base color, it is going to create that nice texture of these trees that are distance which have a lot of these four leaves on them, right? So we've got a lot of browns and oranges and yellows coming in. You're going to use this color and start stamping. And all of that area is not going to be the same color. So what I mean by that is you will be switching between these colors. So some places you'll have the brown, some places you'll have in the orange. And then you're just going to go about stamping, really, adding in the texture and moving around with the different shapes. So I'm going to switch to my fan brush now to just show you how the texture is look, you will not notice a huge difference in the way the texture is done out. It's very similar to your spoilt brush as well. So again, moving around with the different browns. Now you can look at the reference picture to understand where to place which browns. But honestly, I just like to go with the flow and just move around with oranges and browns. It doesn't really matter. You're not trying to copy, paste your reference picture, but you're just trying to get in all the elements and try to paint it in our own way and add in our own touch. So the idea is to have a lot of different warm colors in the background. The only thing that you have to keep in mind here is to not cover your base where the road is, that little area where we added the black. Remember, you want to make sure that you're not covering that Asia entirely with these lighter colors that you're going to add over it. Now, other than that, you are free to just add in the browns and whichever sections you want. You can add in more white to make a, make that section slightly more lighter and shade. Or just use y, yellows and oranges directly like I'm doing play around with that area. There is no right or wrong in this section. Trust me. Only keeping in mind that that arrow that you see at the base where it touches the road, you want to make sure that it has lack deep color because that shows the depth in that Asia. And in case you have covered it by mistake or went over with your brush stroke, you can always fix it by adding the same kind of structure and texture over that area so you can preserve that depth that you see. I have switched to my smaller brush again to get in some smaller textures. I'm just making sure that the top of that slope or that hill has that nice textured leaf effect. I've just gone ahead and done that. And I felt like I overdid the part where it touches the road. I'm just going to take in some dark brown shade which is burnt umber and black. And I'm like I said, using the same stamping method to add in the texture in that area and that fills it, causing any extras brushstrokes that I might have added, and then makes it appear darker. So as you can see, it looks really, really nice. In this area. You can see a lot of different textures. And this is a layer which is the added over the base layers. As you can see, the Bezier really adds to its mean, like it's the background of that section. I also went ahead and added some strokes in the left side because I felt like the Brown was too much in that area and not the depth was not. You are getting created. So I just added some brown in that left section and the next sheet that I'm going to mix is red. So for the left section of the hill, if you notice in the reference picture there's a bit of red colors that you see, right? So I'm going to go ahead with a mix of red and orange and then switch between these two colors. And using the stamping method again, I'm going to add a texture. Now that we've done with the left section, I'm going to apply a similar kind of texture on the right side of the road as well. Don't worry. Like I said, it goes through its phases. The second layer that we have added, just to add the textures. And once we add the trees and the leaves on the trees, it will add to the effect that you want to create and add to the look of the fall roadside, it look much better. Trust me, just just just in the process, I'm done with the textures on either side of the roads and that hill in the front. So I'm just going to stop right here. Wait for this to dry completely and I'm loving the texture play here. It was so much fun to just add in these stamps. So wait for this to dry and once it dries, we are going to go ahead and sketch out our trees. Now, this step is obviously you can skip it, but I thought that it would be much better to draw it out to understand the placement of these trees. Now, the way I'm placing these three strokes are these branches are very similar to the reference picture. So you're going to look at your reference picture and just sketch the tree the way that you see it. So I hope you've downloaded the reference picture from the resources section. So if you haven't, please do, it will give you a better idea. It will also help you understand as to how I view my paintings, how I view a reference picture, and how I tend to put it on paper. So if you do it side-by-side in that way, you'll learn along with me as well as to how to view, how to pinpoint the elements, how to sketch them out. But of course, if you don't haven't done it, don't want to do it, it's fine. You can follow me along and learn from this as well. I've just placed out the trees on either sides of the road so they are going to be taller. I said they're gonna be since they're closer to the observer, they're going to appear longer. They're going to be tall. And that hill section at the back where the road turns, that is going to be with trees that are shorter. So you're going to have that variation, show the variation in the road in that way. So the trees that are closer to that term will appear shorter. And the ones which are still more towards the end of the painting are going to meet dollar almost touching the top of the paper. Once you're done, please sing your, your three strokes. You're going to stop and just leave it right there. Because the idea is to not make the exact things that you see. I like to sketch them out and give myself a basic idea. And then when I paint over it, a few things might change her in there. Also, I'm not focusing on the tinier details in the branches. I'm just adding them in. Some of them to understand what it looks like. But I'm not focusing more on the tiny, tiny details. The idea is to have the tree sort of coming in. This you motion at the top so that this gives that look that if it was a spring season, it would cover it in that dome shape maybe or slightly in the dome shape. That's why I gave that a little bit of curve. Now once I'm done with the sketch in the trees, I'm going to redo my ground, my road. So why did I say ground? It's road. So I'm going to redo my road. And I'm going to use the same colors that I used earlier, which is a mix of black and a little bit of white, so a darker gray. That's what we'd call a darker gray at the base at the bottom which is closer to the observer and the area where the road turns, it's going to have a slightly lighter version of the same color. So a little bit more white into that color is what we're going to do. Again, make sure that you are going with your brush in the motion of the row, in the detection of the road, where it's going to that center point. You want to make your brush strokes in that way. And of course, at the tone, you are going to turn it towards the right side of the road. And again, I'm just roughly bringing in the lighter colors over the darker or lighter gray over the darker green, just brushing in that direction so that that glue is created while preserving that blend. You want to just go back and forth in this area so that the lighter gray and the darker gray, they don't end up looking really awkward and just lying over one another, right? So just make sure that they're slightly blunted. Now I'm going with a very darker gray, which is mostly just black with a little bit of white and I'm brushing that from the bottom to the top in that same going towards the center motion. So that I create a little bit of texture on the road using this dark color. And then I'm just brushing it over and I'm done with this bit. So we're going to wait for this to dry. And in the next lesson we will be painting our trees. 6. Project 1 Part 3 : Adding Trees & Details: Alright, Once that this section is completely dry, I'm switching to my size six long round brush because I need finer details in my trees. I'm going to be using a combination of that along with my liner brush for the trunks and the little branches that you'll see. What I feel is that in this section, once you've added the base textures, it's good to add in the trees first and then go over and added more textures for our leaves. So that works really well, so that you're not just placing the trees on top of all the layers, but it's kind of like a sandwich of the layers for the trees. I'm going to make a mix of burnt umber and black to get this nice dark brown shade like I watched earlier. And this one is just a slightly more opaque version of it. It has very little water in it. And I'm going to use this thick consistency of paint. It's almost like a pasty creamy consistency. And using this consistency, I'm going to start with making those branches and tree trunks that we sketched out. This process is very time-consuming and there's no right and wrong are just going to follow the trees and the way that you sketched out or see in your reference picture, they don't have to be exact as well. You can always play around in that area. And as you can see in that section, when you're placing the trees on either sides of the road, the tree trunk is just they're lying on top, right. And that is why when you place it like this and then go over and add in more texture in that area of all the leaves and fallen leaves and all the leaves on the trees. It will make that little section look less awkward. So don't worry, it does look like that for now, but when we add in more layers of red, it's going to look much better. Like I said, for the trees, I do it in this middle layer because then it's like a sandwich and you have textures behind the tree and then you'll have textures over the tree. So you know that way it works really well at hiding the ends of the trunk where it meets the land. So like I mentioned earlier, the trees that are more towards left are closer to the observer, are going to be thicker, bigger because they are closer so they appear bigger as you move towards the center of the painting, Let's put it like that. The tree is going to appear thinner because they are at a distance, you're going to see less of those trees, less details of those trees. I'm just working on my brush strokes like that. And you can see wherever I want to make thinner lines and adding lesser pressure with my size six round brush itself. Wherever I want thicker lines, I am adding more pressure on my brush. So in this way, it's good to know how much pressure you should be applying on your brush. So albeit school for your brush exercises to help you get familiar with your brush and help you understand how much pressure is too much pressure for your brushstrokes. So I'm done with the trees on the left side, as you can see, we've got that nice effect of the trees towards the left appearing bigger and thicker. And as we move, it appears thinner. I love the look that is coming in with the tree trunks and I'm going to repeat the process on the left side trees as well. And even the ones that are behind that red piece of land, those trees are going to be very, very thin and small because they're at a distance, but we're still going to be able to see them. And that is why we are drawing them because they had slightly bigger. And we want to add in a little bit of texture in that section with make it appear more orange. So it has a lot of orange leaves, yellow leaves and red leaves. So it's going to play around with that area. And all the trees that are towards the left, towards the right side, I'm going to make them slightly thinner because that era sort of gets covered with the trees that are in front of it. So it's okay if you skip in a little detail from that section, you don't have to go all the way towards the right. I'm just making these vertical strokes to show that there are trees in that area in that depth that we have tried to show with the darker brown at the base. This entire process is just about adding the tree trunks. As you can see, I am not focusing so much on the individual branches a lot. Now, if you look at the reference picture, there are way too many branches and the smallest, smaller ones that are so many of them. But for now, I'm not focusing so much on them because I want to just place my trees first, make sure that they look nice when they're together. And when I'm done with that, we can add more details and textures on them later. Again, in this area, you can follow the tree that the way that you see them in the reference picture, or follow me along and make sure that your trees have that variation. That's how you create that effect of depth in your painting when you just play around with the sizes of your objects. So like I said, the trees that are more closer to the road, like the broad road side, they're going to appear thicker, bigger and the ones that are still moving closer to the center of the painting are going to appear smaller. Play around with that section and add in the trees the way that you see it. And you're good to go with that layer. Just adding a few little final touches with the main branches that I see. Once this is done, I am going to let this layer completely dry. And then over this, we will be adding on the brighter colors of the leaves that we see. Now that this section is dried out, it's time to whip out our fan brushes or are spoiled brushes for some more textures. Over here I will be playing with these two brushes, the fan brush and the spoilt brush. And I will be adding colors that are more brighter. What I mean by that is that these colors are going to be more orange, more of the reds that you see darker versions of it. I'm going to add it in that way. I'm just going to add a little bit of water on my brush and mix it out with the red and the orange so that the red is just not too deep. But it's like a more vibrant version of the red. I've been using the crimson shade here. And that is why adding a little bit of orange makes it more vibrant is what I feel not too dark because actually crimson is a very deep shade. Adding in a bit of orange really brightens it up. And I'm going to go ahead and start tapping these two colors. You can also load up some more oranges, orange shade in some sections, and some sections can be the deeper color. The idea is to play around with these three shades, the red, the orange, and the yellow, to add in some more textures. Now, if you can see very closely, I'm starting with the center of those three strokes that I made just to show that these leaves are in front and in back in some of the smaller branches that there might have been. So don't worry about where you're placing it. The only thing you have to keep in mind that is to lay around the two shades and put it somewhere in the middle. It can be anywhere that is somewhere in the middle. Then when you come to the trees that you see, which we made on that hill section where the road is turning, you're going to add and much more orange and yellow trees and that section. You can also look at the reference picture to understand how the placement is. Go with the flow, look at what the reference picture shows you and just play around. I've also made a lighter version of the color by adding in a little bit of white into my yellow and orange mix. Like I said here, I'm not really thinking the process through. The idea is to just add in different colors, such as the reds, oranges, yellows, some lighter colors and just fill in all the branches that you made with these leaves. I'm adding in a little bit of the orange color and switching between the Reds as well. And I've covered the entire section of the hill bit where the road turns. So all those tiny trees that we made in that area covered with the orange and the red leaves. So in this, in this section we really just working in, in, in like a combined layer formation. I would say we're not waiting for any layer to completely dry before we go ahead and add. A different color stroke over it. The idea is to just simultaneously do it like I showed you in the technique lesson. It will just simultaneously tapping different colors wherever you feel like adding more orange to it. Wherever you feel like adding more red to it, It's completely fine. Eventually you're painting is going to turn out beautiful. So don't really overthink this step. Now that I'm done with all my oranges and red, the deeper colors, I noticed that the reference picture has a little bit of yellow trees in that section. So I am going to load my brush with some yellow paint. I'm also going to swatch out all the shapes that I used just in case you'd like to see there is orange red mixture that I just swatch. So it's a nice warm orange red color. And I'm going to load my fan brush with that shade. And I'm going to just tap in some controlled strokes. And by controlled strokes, I mean, that they're not going haywire with the texture like we were before. We're just playing around over here. I want to be more controlled because I'm going to add this only on certain trees so you can pick the tree that you want. I am picking the last tree in this section that's on the right side. So just assuming what the tree is going to look like, I'm going to tap in this yellow paint over it. You can also go ahead and add in a few more strokes of cad, yellow on other cheese as well. Just to bring out different colors in that area. Don't worry if you cover go ahead and cover your tracks and your branches, that's completely okay. And we've done it actually in that way so that we have it cupboard and it doesn't look like it's just standing there. If you really notice over here, you can see a huge difference with the sandwich layer that I was talking about for the trees. It looks like they are in front of one layer, but behind another layer. That's the perfect look that we are going with. And I'm really happy with the way this has turned out. You can also go ahead and tap in these lighter colors near the base of these trunks that you made as well, so that you cover that and it looks like it's buried beneath all the leaves and they're all these leaves that have fallen and covered that section. So you can easily achieve that by tapping in these lighter colors at the base as well. You don't have to do it entirely. You can just make a few strokes as well. The idea is to make sure that you're not able to see the end of the trunk where it lies on the surface. So you can just cover that slightly and you'd be good to go. I'm really happy with the way this has turned out. And I know it looks a little bit crazy, but don't worry. In the next lesson we will be adding more details to this, fixing a few little strokes, adding in our details to the road, everything's going to look much better in the next lesson. So see you there. 7. Project 1 Part 4 : Adding Final Details: Alright, now it's time for us to add in some details into our painting. Work more on the nitty-gritties of our painting. I'm going to switch to my size six round brush and size one liner brush for all these details. And we're coming back to the mix that we made earlier using our brown and black for the tree. So we're switching back to the same mix. We are going to go over the area that is covered and bring it forward because this little section that you see the middle of the trees where I told you just stamp in the colors. That area is forward, right? So we've got all the beautiful leaves behind this. So the trees that are behind that section are holding these beautiful leaves. But the trees that are closer to the observer are much more forward and we need to bring that in. So I'm just going to go over that section. Repeat the brushstrokes, not coming all the way to the bottom as you can see, I'm not coming all the way. I'm just filling in the middle space. And I'm not doing the same for the trees in the back. I'm just going to make a few brushstrokes. I love how the tree looks and that section for the tree which has the yellow and the orange, I'm just going to make a few branches appear. Not all the way, just a few very thin strokes because you're going to be able to see the branch at which these leaves lie on because it's the fall season, the trees are falling off. You're going to be seeing those branches. So just making very thin strokes and that Ada and bringing back, I'm bringing these cheese forward and pushing those leaves back. Alright, so I'm really happy with the way we have made the trees come forward. So it's time for us to switch to a very thin brush. I am switching to my size one liner brush because now is the time we are going to add all the final branches that you see. So go ahead and play around in this section. Make tiny branches coming out of the ones that you already sketched. These are gonna be really thin, very delicate, very light pressure on your hands. So you can make as many as you want in this little area. And then we'll be adding more details and more leaf on that section. So don't worry about that. I am just going to be extending these branches and adding in some tiny delicate twigs sized branches from this little section. I'm really happy with the way this looks right now. So I am using a mixture of yellow, a little bit of yellow and black so that the color is slightly lighter, brown shade. And I am going to be adding these little tabs that appear to be some tiny leaves that are yet to fall. And they're really just brown little dots in the cheese. So I'm just going to add in those steps on my branches. So you'll be making some of them just using your round brush. And then you can also use your fan brush to add in a little more texture in that area. So go ahead and use your long-run brush for now to just tap in some dots. Like we've done in our previous class, classes where we've learned how to make these dots. But this is not more, not more free in the way they appear. They are not really very consolidated like the spring season paintings that we have done before. So I really like how minimum these steps are for now. So there's a very fine line in overdoing and other doing this. So they're just going to make sure that we don't overdo these little dots. And once we're done with our long-run brush, we can also switch our fan brush. Again, I'm adding a little bit of water into this and slightly thinning down the consistency because I want this to appear slightly transparent. And that is why I'm not using a thick consistency and I'm just using my fine brush to tap this in on some of the branches as well. Very light taps, not overdoing this. This is just to add in radiation to the shapes of our taps. Once we're done with this, we are going to wait for this to dry and then we'll move on to the next step. Alright, now that we're done with this, if you notice the trees look really flat, right? And we want to add in some texture to the tree. So for that, I'm just going to switch to my round brush, my normal round brush. And I'm going to mix my white paint with a little bit of yellow, just tiny bit of yellow. And I'm going to use a thicker consistency and use the dry brush technique, which is basically using a thick consistency of paint. And when you rub it across or textured paper that we are using now it's going to create beautiful textures on your, on your sections that you are brushing over. I'm just using my flat brush, thick consistency of paint, getting rid of the extra pain so that my brushes slightly try by brushing over the tape bit of my, of my paper. And then I'm just going to add in some textures using that. So I'm assuming the lighter bits of my trees to be on the left and the right side of the tree. So the left trees are on the right side. The lecture I want to add is on the right side. And for my rights section trees I wanted on the left side. So keep that in mind and just go ahead and use a dry brush technique to add in the textures on all your trees. I'm really happy with the way how adding this texture has made our trees Bob a lot more. And when you're done with this, you're going to wait for this layer to dry before you move on to the next step. Alright, now that we're done with all our beautiful textures, It's time for us to go ahead and add in some deeper darker colors in the leaves that are on the left and right side because I feel like there's a lot of yellow and orange in that section. The pure to be more lighter once it's completely dried. So I want to add in some deeper colors in that wet. Before I go ahead and add my road markings, I'm going to go ahead with my brown shade mixed with a little bit of red and orange just to get a deep brown shade. I'm just going to go ahead and brush it across and tap in some extra textures in that area. For now, if you notice, the road looks like a separate bit and these little left and right sections look like a separate bit. To make it appear as one blended section, I'm just going to wet my brush and just brush it across the edges of these two layers together so that this slightly blend into one another, creating a smooth transition. Alright, now that we're done with this section, it's time for us to add our road markings. And I'm going to do that by switching to my liner brush because it gives me really fine detail lines. And I'm going to use a mix of just white for the markings on the left and right sides of the road. And for the center of the road, I am going to be using a yellow color. Using my white mix, I am carefully going to draw the line, leaving a little bit of gray space. You want to make sure that you're leaving that little space where it blends with the brown, not exactly at the edge or the border where they were. Both of these columns intersect. You want to leave a little bit of gray space. The other thing that you have to keep in mind when you are making these markings are that the section that is closer to the observer, the marking is going to appear bigger in that area. And as you go away from the observer, your marking is going to become thinner. So that is why you have to work on the control of the pressure on your brush. And also make sure that you don't have a very thick brush. Because if you read the section where the road turns, you might end up making a line that is thicker. So be very patient and controlled. In this section, you're going to make this line on the left side. You're going to repeat that line again on the right side as well. You can move your board around to make it comfortable for you as much as possible. Again, leaving some gray space. Be very controlled and be very slow in this process. Another thing that you have to keep in mind is to follow the way or road. Looks. Rice, your road is going to move and turn in the same way that your markings are. So make sure that you are slowing the process and also keeping in mind the way that your road is turning. Alright, now before I go ahead and add in the center lines, I want to add in a little more texture to my road. And I'm going to achieve that by using black paint and the dry brush technique. I am going to just make sure that my brush is dry and I'm not loading up a lot of paint. If you think you have extra paint, you can always brush it on the sides where the tape is to get rid of it or on your tissue cloth. And just use a little bit of paint on your brush to get this nice texture on your road. As you can see, my brush movements are again, keeping in mind that there's a point where the road is turning. So all my brush strokes are going to be that way. When you reach that area where the lighter gray is, I'm going to switch to a smaller sized brush. Again, following the dry brush technique, I am going to add in some texture using that brush. If you ever feel like you've added way too much paint, you can always brush it or blended out if it's too much. Because gouache is very forgiving that way. So all you have to do is in this section is to add in some textures. Once you're done with this, you're going to wait for this to dry and then we'll go ahead and add the markings in the center of our road. Alright, so now that my layer is completely dry, I am just going to go ahead and draw the center line of my road once with pencil so that it's easy for me to just make the lines when I'm painting them and I'm not making any mistakes, so use a pencil and draw them. Again. These two lines are going to be further apart when they are closer to the observer. And as it moves away, it's going to somewhat appear as one single line because you're not going to see these two lines as two different lines from that distance. The color that I will be using is going to be a mix of white and yellow. You can add in a little bit of orange there as well. Basically, it's a nice light yellow shade that we are going with. Once you are done with your blend, you are going to go ahead and start making the center line for your road. I always tend to start off with thin lines first before I go ahead and add in a thicker section of that line because I feel like I'm in control in that section. Otherwise, if I mess up, then I'll have to live with that size of line and it's an entire process to fix it. So make sure that you're making thinner lines force. You can always go ahead and go over that area again just to make sure that your line is thicker in that area. So I've made these two lines further apart as you can see, and as they reach that point where the road is turning, they appear to be one single line because they are at a distance. And once I am done with that size of line, it's time for me to carefully just make them slightly thicker on both the sides. Again. Right now you are in the liberty to make it as thick as you want. The only thing is that it should become thinner when it reaches that section or that point. So that is the only thing that you have to keep in mind when you are making your road markings. Alright, so I'm really happy with the way our painting looks right now. So just go back and have a look at it. If there's anything that you feel that you want to change, you can always go ahead and fix it at this point. Maybe add in a few extra branches are some fuel leaves that you think might look good. Now's the time to fix it. I feel that in my painting, in the right side, sorry, the left side of the trees have a little less red as compared to what you can see in the reference picture. And I wanted to appear much, much warmer. So I've gone ahead and tap, done a little bit off those red leaves. They will get lighter as they dry. And that is why, you know, it looks really big right now on dark right now, but it does get lighter once you let it dry for some time. This is it. I really like the way this looks right now. We'll let it dry completely before pulling the tape. Alright, now for our favorite bar, that is the tape peel makes sure that you're peeling away from the paper so that you don't tear your painting. And I really loved this process because your painting look so beautiful with those white borders. Alright, so here's a final painting. I am so happy with the way this has turned out. Before we go ahead and have a closer look at it, take a white pen or a marker and sign your name at the bottom of the painting because this is such a special moment for us. Alright, so here's a closer look at our painting. I love the texture play in this, in this artwork, those trees, texture on the trunk, the leaves, everything, texture on the road. Everything is so, so beautiful. And I hope you enjoyed painting project one with me. I'm really excited to show you project to see you in the next lesson. 8. Project 2 Part 1 : Sketch & Background Layer: All right, Welcome to Project Two of this class. I've taken my A5 paper and taped it down on all four sides and also taking the colors out on my palette. I've added green as an extra color compared to the previous palette. Colors that we had agreements. The only shade that's sort of added into that list. But again, all the other browns and orange-yellow that I mentioned is on my palette. And for today's project, we are going to be painting this aerial view of beautiful autumn road. And I love, love, love this picture so much. I mean, look at those greens, orange, red lake. Name, the warm color. And you will find it in this picture. Now, it's so beautiful that I am actually excited to take you on this journey to paint this artwork. I hope it turns out exactly the way that I envision it in my mind. But let's, let's go ahead and do this together. I did try it out. And over here there were a few changes that I wanted to make based on the colors that you see, but let's try and give it another go for the main class project. So the first thing that we are going to do is create our sketch, right? You're going to look at the reference picture. I have put the reference picture on the left side. You can also download it from the project section, projects and resources section. You can download it. And right now, our elements are the main focus of our, of our painting is going to be placing where the mountain or the hills are and also the road. Other than that, anything that you see in this, in this reference picture is going to just be a process that we are going to weighing along the way. So you can see that the road is not straight here, right? The road is like this nice swaying. It's going through its twists and turns. I wouldn't say twice, but definitely done. So it's almost like an S shape that you see. Of course the S is not exactly like that, but it's more bent at the top. And then the road comes in from the bottom and then just slightly deviate towards the right side. So that's what we're going to place. You are going to look at the reference picture and place it the exact same way. Now, unlike our previous class project, we are not going to focus so much on expanding the area that's closer to the observer because this, this picture is taken from a height. Of course it's an aerial view. So things are a little different. And the way we approach this, this reference picture and this painting is going to be slightly different. But of course, all our texture play is going to be very similar. I'm just roughly sketching out In what way I would want my trees to look like. Now, this is, again, not a compulsion because this little section gets covered entirely with our paints, so it does not really matter. But again, I feel like sketching it out once gives you a clearer idea of how you would want to place things. If you look closely at the reference picture, there are only a few trunks and branches that you see. Other than that, everything that is that is visible to your eyes are just beautiful colors of these autumn leaves. Very few branches are going to be visible to you. So you're going to try and achieve this full volume units, autumn tree. Look into our painting. I'm really happy with the sketch. It was very simple, not very complicated. So let us go ahead and start painting. Let us start off with the color of the sky. So I'm going to use my flat brush because it's much more convenient to use a flat brush for these background washes for the sky. So I'm going to mix a little bit of white on my palette along with a tiny bit of blue. Casey, the way I pick my blue, it's just tiny bit. I'm also going to add in a little bit of black into it to get that bluish, grayish color for the sky. If you notice in the reference picture, the sky is very pale. It's almost like a foggy, misty look. And to achieve that, you get this beautiful shade that we need for this guy using a mix of blue, white, and black. So I'm going to start off by applying that at the top of my painting. It's going in this left and right motion. And each time I come down, I'm going to add in a little bit of white to slightly lighten the color for the sky. I don't want it to be just plain, but a nice gradient wash with this gray shades to achieve the lighter gray color, I just have to add in a little bit of white into my painting. Alright, so you're always going to keep in mind that you're going to move in this left and right motion. And that helps you achieve that nice gradient wash that we need for this guy. And I'm really happy with the way the sky looks right now. So let's wait for it to dry. And then we'll move on to the next step. Alright, my sky here is completely dry. So now the first thing that we're going to do is go in sections. So if you notice the area that is further most away from the observer, they're going to start off with that first. Now to achieve that misty look along with the colors in the sky, I am going to start off with the white pale color first. So I'm going to switch to my round brush over here and we're going to apply that wet on wet, I would say blending method where you have a little bit of the wet paint and you're going to add in paint over the area in that section where the paint is still wet. When you do that, it just slightly blends in and just roughly create that blended look. And that is exactly what we need. We need a slightly blended look. Now I'm going to play around with the colors over here. Watch me carefully add white at the top because that's the area that is going to appear much more misty. And then while the paint is still wet, I'm adding these vertical strokes which depict the far of foliage. In that section, you're going to see a little bit of green, a little bit of red, a little bit of orange. So all those colors that are on your palette, just make sure that you're adding a little bit of white in water and white into it and then just adding it in carefully. If you ever feel like you've added too much, you can always just use a clean brush to blend it out. Your paint in this section is going to be slightly wet so you have the time and the liberty to just mix it around, blended around without making it look too harsh. Now, if you notice very carefully the colors are very pale and that's exactly what we need to get. That nice, foggy, misty look into this area, into this section that you see. This little section actually just comes in with what's in your mind in the moment. Now, I would like to tell you that do add green or add red here and add orange here. But that is not exactly what, what's going on in my head. I am just looking at the reference picture and I've assumed that there's some green, yellow, red, blue, brown, whatever, wherever the warm, fully autumn leaf colors are. I'm just adding that in, blending it out just so that they are evenly spread around. And I'm just blending them slightly with one another to get this nice, misty look. I'm really happy with the way it looks right now. So I'm going to wait for this to dry. Once it's dry, as you can see, it's completely dry. The colors, some colors got darker, some colors got lighter. And that's exactly what we need for it to have that little variation. Now we're moving onto the next section. This little section, again, we're going to repeat the same step that we did earlier. You're going to have a little bit of brown in this area. Instead of going ahead with white, I am moving on with a little bit of brown, adding in a little bit of yellow, again, doing all of this while the paint is still wet so that it's slightly blend with one another. So I'm going to play around with yellow. I'm going to play around with brown. I'm going to play around with a little bit of orange. So like I said in this section, I'm not really thinking it through. If you look at the reference picture, you will see there are some blue blob of blue, green blogs, some yellow blobs. Some, it's almost like a tongue twister. So this has got some different blobs of colors. So this acts as the leaves and the foliage of that little area that you see. And other than that, it's all just texture play and all of that. I'm just, as you can see, adding in different colors and trying to get them to slightly merge into one another. This can be achieved easily when your paint is still wet. So I don't have to you don't have to worry about cleaning your brush completely before moving on with the next color. You can always just wipe it off and just lift off another color and add it in. Once I had the base color or the base layer in while the paint was still wet. Now I can add an blobs of color, which with that, I mean that I can add in some red and then mix it around and some green mix it around, adding some yellow mix it around. Again, repeating the process that we did earlier in that section. Over here. If you notice, I didn't add a lot of white because I didn't want the entire section or the entire area to be misty or leave the top part and the left part of it is going to have that slight misty effect. Other than that, I want the desktop, the area to have that nice vibrancy and for it to not be really pale like the area that you see behind it. Now what happens when you do it this way? You create depth into your painting where you can easily see that the pill section is further away from the observer. And then this little section, this point of focus is still closer. So it has some missed around that area, but not all the way to the bottom that you can see. I've gone ahead and added some yellow. Again, just playing around with colors. Don't limit yourself to the colors that I'm using. V know the warm colors. So just go ahead and play around with it. Make tiny strokes, making some textures also, if you'd like, once you're happy with the way it looks like I am right now, you are going to stop and let it completely dry. And in the next lesson we will be adding our background wash. So see you there. 9. Project 2 Part 2 : Painting the Base Layer: Alright, so let us start adding the colors of the areas that we have left, starting off with the road, the first thing that I want to cover is the road. So I'm going to start off with the slight creek, Carlos, very similar to the one that we use for the sky. And in the same mix, I'm going to add in a little bit of black to make the gray pop out a little bit more. And I want to start off with the section in the road. Don't worry if you go beyond There's no end for it. We're going to fill that in with a tree texture, so don't worry about it. I want to start off with the lighter gray color from the top. And then at the bottom, we're going to have some darker gray. This is how we'll be bringing in the variation in the road. We're going to have darker gray at the bottom, let's call it bottom half, and it will transition into the lighter gray bits. Now, this part can be slightly tricky because it's going to take you some time to achieve that nice blend of the light gray and dark gray. Why I am saying that is because in this little section what happens is that since the road turns, it might be tricky in, in getting that nice blend, but don't worry about it now, that is something that we will fixed together and get a nice blend in that section together later in this lesson. Now that we have the color for the, for the road and space and it's completely dry. We are going to go ahead and add in the background wash for the remaining sections on either sides of the road. Now if you look very carefully, I just don't want to add in a flat black wash for the background color. I want it to have different colors like in the previous class project. So that when you go ahead and add in textures over it, it stands out better. It looks like it has that nice undertone effect to it. So I'm starting off with burnt umber. And I've added burnt umber in the side. And then right where the section meets the road, I'm just using green and the same with the same brush, flat brush. I'm just tapping it in with the green and blending it in. And then again switching to my brown and just playing around in that section. You can also switch to a round brush and do the same process. Over here. I am just going to tap in different sections where now I'm using burnt sienna to add in that color. The only thing that I will be keeping in mind in this area is where the road meets the land on the either side where the trees are going to be that section. I want that little brim to be slightly darker because I want to show the effect of the shadows. The trees are going to cost that shadow in that section, so it's going to appear darker. Other than that, feel free to play around with the colors. Feel free to play around with the different greens, different browns, and just mix them together. I'm going to switch to my round brush. For now. I'm going to go ahead and again, add in a little bit of the burnt sienna color. And as you can see, I'm just mixing it around. Loading my brush up with some green, again, repeating the process, playing around with different colors. Now that I've added in all my colors, I am going to go ahead and make the top bit of the section appear slightly foggy and Miss D. So we'll go ahead and load my brush with some white and then tap it at the top while the paint is still wet and slightly blend it out. Doesn't have to be perfect. This is just the base layer. So don't worry, go ahead and add a little bit of white to get that slight, slight little, little bit of the misty look. You can also go ahead and add in some darker colors wherever you feel. Like I said, the darker bits are only going to be more important in the area that is ching, the road side. Other than that, feel free to slightly play around with the colors. It doesn't matter. I'm also going to add in a little more black and burnt sienna, burnt umber mixed in the end where I want to show that this section is more dense. So I'm just going to add that in on the left side. Again, not a problem if you don't do it the exact same way. Now that I'm done with the land that's on the left side of the road. Let's go ahead and repeat the same process on the right side of the road as well. Starting off with the brown color, if you look very closely at the reference picture. Vc up a good amount of land in this area, which means that ground the plane surface. And then a lot of different leaves of course, from top, I'm just adding a little bit of green in that ADR to show different variations and not just brown. I wanted to show a little bit of green. I went ahead and just add the green on the sides of the road, and then again, adding in some more darker colors to show the depth in my trees. Now, one thing you must have noticed is the way I add my paint is not in one particular brush stroke. And it almost looks like little chunks, I would say, right? It looks like different blocks, different surfaces, different sections. And I'm doing that because I want my trees when I added the textures to look like different trees, either all different trees. And that is why if you just blend the colors out in the flat form and that we do for the sky. It is not going to bring out that same effect. If you notice once this left side, Let's take e.g. when it's trying, there are certain bits that are darker and certain bits that are drying lighter. And that's exactly the way I wanted this way when I add in the textures and other layers over it, it is going to appear much more better and much more denser and follow athletes some orange, green, and yellow at the top width as you can see now we've got the entire section covered out. We figured out where the land is and where the trees are going to be, and where the darker bits are going to be, almost sort of figured out. I wouldn't say completely. If you also notice on the right side section, you can almost see which tree is where. That is exactly the way I wanted. And we're going to wait for this to completely dry. Alright, now that my section is completely dry, my paper is completely dry. We can go ahead and play around with the road a little bit and add in some cool textures on it. You're going to start off with a lighter gray color and the darker gray color, again, make that mix and you don't have to get the exact shade. This is, this is your moment. You can fix things getting a darker gray color or a lighter gray color depending on what you want the road to look like. I want the top of my road where the turn is to be lighter, to appear lighter section which is at the bottom half, I would say to appear darker. Now over here the trick is to just get that nice blend and also add in a little bit of shadow towards the left side of the road. So I am just going to play around in this section. To be very honest with you. I felt like because of the turn, the blending process is going to be slightly tricky. I have a feeling that it might be tricky, but I'm pretty confident in you guys if you're gonna do it really well. The only thing to keep in mind is you're going to go up, you're going to come down. There are chances that the light gray is gonna be more overpowering and sometimes darker gray is going to be more overpowering. But don't worry. The idea is to just get a nice blend in those two lighter gray and dark gray color. Once you're done with that, obviously adding in the textures is not that difficult. The only other thing that I have to keep in mind is to blend them and adding a tiny bit of shadow in the left side of the road. Now you can switch between brushes. You can switch between flat brushes and our brushes to find out whatever is convenient for you. I am really happy with the way the blend is coming out in the section. You've gotten the darker bits for the bottom part of my road. And of course, the lighter gray color at the top where I want it to be. I'm just gonna go ahead and give it that one final smooth blend movement with my brush. Then I'm going to go ahead and load up some darker gray color, almost very close to black. And I'm going to apply it from the bottom and move it along the shape of my road. Remember, it's very important to move along the shape of your fraud. Then again, just blending a few things here and there to make that nice smooth transition between the colors. And I'm actually this, at this moment, I would say that I'm happy with the way the way the road looks. We're going to wait for this to dry. And in the next lesson we will be adding in all the details to our trees. 10. Project 2 Part 3 : Adding Foliage Texture: All right, before we go ahead and add the details to our trees, let us go ahead and add the road markings. For that. I'm going to be using my size one liner brush, which is a really nice thin brush. You can use a thinner brush if you'd like. We need to get really thin lines and this one because the road is from an aerial view. So I'm going to load my brush with some white quash. I'm carefully going to go ahead and make the lines along the road. You're going to follow the shape of the road that you have. Make sure that you are leaving in a little bit of space, little bit of gray area, not going over the line where the ground bit touches the road. So make sure that you leave in a little bit of gray space and carefully follow the shape of the road and paint over it. If you are not confident with just going with the flow for now. You can also go ahead and sketch it out once using a pencil and then go over that area. Just to give you that little confidence that you can do this without any mistake whenever it comes to adding very straight lines and where you have to really focus. Sometimes we tend to overthink that process and end up messing up. So in case you feel a little bit scared to make them move, then always, it's easier to sketch it out with a pencil. So I've added those two lines, as you can see, following the shape of my road to the way the road turns, I'm just going to turn my markings on the road in the same way that the lines at the bottom are slightly thicker. And as we go towards the top, since that eta is still further away from the point of where the picture is taken. So make sure that the lines are just slightly thicker as compared to the top. For the markings in the center of the road, I'm going to make a mix of yellow along with a little bit of white. So I'm going to get this nice pale yellow shade. And using this pale yellow shade will be making the markings. Again. Over here you're going to have two parallel lines next to each other in the middle of the road. For this unit we very controlled with your brush, okay? So if you're not confident here, he can sketch it out first, make sure that it is in the middle of the road before you go ahead and start making the lines. If you notice very carefully, I am very gentle with my brush. Very, very minimal pressure is being applied. I'm barely even touching my brush. I mean, I am touching my brush on the paper and that is why I'm able to create the brush stroke, but I'm barely applying any pressure if I were to put it in those words. So I'm going to go ahead and make very thin lines first, this gives me the confidence that the lines look good. And then I can go ahead and slightly thicken the ones that are in the bottom half. Because of course that area is slightly closer to the observer as compared to the area that is at the top. Going to make, going to be making two parallel lines very close to one another. So again, very, very gentle. Be concentrating this point. Very slow movement with your hands, you can make smaller, smaller brushstrokes. And in the era that is in the bottom half, you can show that the lines are still much more apart as compared to the lines at the top. They can sort of merge into one another because we want to show the depth in the painting. And we can achieve that by just making the lines likely appear like they're merged into one another. So go ahead and make these two parallel lines. If you look very carefully. At the second tone, I have made my lines appear like they have merged into one. But other than that, like those, that S curve that you see, you can still see those two thin parallel lines. So I'm really happy with the way the marking on my road looks. Now. I just want to blend out the road and the ground bit together. Right now there's a bit of white spaces in between. So I can fix that by just loading my brush with a little bit off diluted black. I would say it's a very thin consistency or very light wash. I'm going to take that and then do it up with some water and that shade and even some brown and just blend those two edges together so that this slightly merge into one another. Again, using the same brush, I can easily blend those two colors with one another. And since gouache can be reactivated once it's dry, this works out really well when you want to smoothen out the edges and not have any sharp edges. So I'm really happy with the way the slugs. And once everything dries, it's time for us to add the texture to our trees. Before we go ahead and add in the textures, I'm going to just roughly sketch out some branches and some trunks. In the deeper parts of my foliage section. I'm just going to make some branches so that I know that this section needs to be avoided at avoided as in that I don't want to add in a lot of texture in this area because I want to show the branches and have them be in the picture rather than everything looking just crazy with a lot of leaves. So that is why I'm sketching this end so that I know, okay, this is the area where I want to avoid a lot of texture. And the ways in which I'm adding this as very similar to the reference picture. The reference picture, you will notice that there are some branches that you see, but they're very few. And you don't have to worry about placing them in the exact exact location. He can still play around and just move things around. That is completely okay. I am also going to make sure that the tone at the top has a bit of darkness because I feel it's too light and I want to show that dense density of the trees in that area. So I'll be adding all of that and I'll show you how you can do that. But for right now I've just sketched out the trees and then we're going to go ahead and play around with a lot of different colors. In the previous class project, we played around a lot of orange and a lot of red. But in this one we are going to have a lot of yellow and green as well. Some starting off with a light brown shade, which is a mix of burnt sienna and white. I'm using my spoilt brush. I'm just going to tap in the texture. And to be very honest with you, you are free to move around with the textures and the colors, right? So don't worry about placing the colors in the exact order that I am. I am just actually having fun here and adding this texture is one of my favorite ways to achieve these beautiful autumn trees. I have tried so many Class Projects, played around with so many class projects to get in different textures. And I think this works out really well. So go ahead and enjoy the process. Don't think too much. The idea is to have a lot of greens, yellow, orange. So just play around in the section. We add the background color. So you can also color coordinate and add green over the green area are slightly brown age or you can add that wherever you see a little bit of yellow, go ahead and add a lighter yellow over it. Where you see orange. Add an orange. You can add in some red, some deeper browns. And sexually enjoyed the process of tapping in the colors. I'm also switching between a little bit of Fred and adding in some yellow. Sometimes if you've had a lighter brown, so the browser is not going to show up so much, but nobody. We are going to be playing around and adding another layer over this just to make everything a pure, much more prominent. So this is just the base layer for the texture. When it comes to the area where I had sketched out the cheese, you can notice that I am tapping in the textures on that just to show that it's a part of the tree and it appears as a whole tree. So that I leave in that little bit of space where I can paint the trunks liter. So I'm switching to my fan brush now because I sometimes enjoy the Texas is a fan brush a little bit more when I want some dense so strokes because they're very close to one another when you work with a fan brush. So I'm just going to switch to my fan brush and then repeat the process of adding in the texture. You can also add a nice light consistency of the paint where it's not to take. Once it dries, it'll dry out really nice and then you can layer over it to get in more textures. But again, the process is very interpretative and it's just all about having fun and not thinking so much. If you notice, another thing that I'll tell you is that I am not going all the way to the road. Right? You'll notice that I've left the road space because I want to show that that's plain ground. Let's call it playing ground. And the trees are slightly away from the road, is not exactly at the edge where the ground meets the road section. There's a little bit of space, little bit of ground space. And only next to that are the trees. So you can achieve that by just leaving in that area. One more thing that you'll notice is as the paint is drying, it's getting lighter, right? The green that I applied got lighter than it looked when I had just made those strokes. So remember that sometimes the paint dries out lighter. So don't worry about it, Just wait for it to dry to see how it looks. And they can work on the texture as according to that. But I'm really happy with the way this is turning out. You've got a bit of Fred, a bit of orange, green, lot of different color plays happening. And if you look at the reference picture as well, there are a lot of different colors in it as well. It's not just browns or if it's not just orange and yellow. You've got trees of every shade that you can imagine in the picture. And it's just a breathtaking view, right? So go ahead and play around in this section adding cheese, where you would want green. Go ahead and add green, really just don't focus a lot in the perfectionism of this section. Alright, so I'm done with the trees on the left side. So while it dries, I will switch towards the ground space that is on the right side, and then add in textures in that area as well. In this area is likely want to show more details and emphasis on the color yellow and orange only in this area because in the reference picture that's a lot of yellow colors and green orange colors in this section. So I'm just going to focus more than that. And even in the background we had add those colors, it works out really well. So I started off with yellow, the mirror mix of yellow and orange. And right below that I will be adding brown. This way there's a little bit of density that's created, a level of contrast that's created. It shows the depth in, in the trees and it shows the lighter bits and of course the darker bits and the bits that are under three mode, or whether you have the shadows and all of that. So I'm just going to add in the textures based on that, where when I just tap in, you can see the yellow, the orange, and of course the brown bits. And then switching to my green color, I'm going to be adding some green trees. Again, playing around with the textures and different colors of autumn. Right at the corners, right corners. I want to have some yellow and orange trees. So that is why I've loaded my brush with some yellow and orange. And I'm just going to tap in some trees make it appear much more denser and Fuller in that section because this eta is still slightly closer to the observer. So we're going to add in the trees based on that and just look how beautiful it looks, right? There are some obviously certain steps that are still remaining, but I'm so happy with the way this looks so colorful. And we've added in so many textures so easily just using a fan brush and a spoiled brush. And I'm just going to enjoy this process and add in some taps with my light color, this nice yellow, orange, greenish color at the base where I have not added the texture. So this just shows the leaves and that areas and fallen leaves. So I'm just going to brush it across to create some textures, not so much because don't overdo this because it's very easy to just tap in and make something look viewed. So yeah, I'm really happy with the way this has turned out now, so I'm just going to let it dry and then we'll move on to the next step. Alright, now that we're done with this section, it's time for us to add in those strengths and those branches that I was talking about. So I'm going to create a dark mix of black and burnt umber so that the sheet is really nice and dark reviews this shade in our tree trunks of the previous class project, It's just the same color. I don't want to use black directly. So that is why I've made this dark brown mix. By mixing burnt umber and a tiny bit of black. I'm going to go ahead and just go over the section which I sketched in case you are confused where your sketches, of course, go ahead and feel free to just make that sketch again. So you're just going to go ahead and add in these branches, if you notice they're really tiny. The very few details, but adding this detail really adds up to your painting. It gives you the view at which your leaves are lying upon rights. It's not just little different blobs of colors, but they are resting. They are part of a tree, the leaves of a particular tree. So you just want to slightly show that. And if I know in this section it looks a little bit awkward, but once we are done with this layer, we will be adding in some more textures on our leaves so that it comes over this, over these little branches that we sketched out. Right at the top, I've made the trunks and I'm just going to load my brush with a light wash of the black color. And I'm just going to blend it out using water as you can see. This way, I can create a nice, dense look for that area. If you ever feel that you overdid something, you can always load your brush with some water and lifted off as well. Right now, it again, like I said, it might look a little bit weird, but don't worry, when we add in textures over this section, it will appear to be much better. I've added a few little details of the trees and the left side doing the same on the right side as well. Adding in some details for the branches. Very thin brush strokes. You don't have to do the entire section. You can just add in some floating ones as well. Doesn't have to be a whole tree. Just a few strokes to show that, okay, this is a branch, this is at which the tree is going to have its leaves upon. So that is the basic idea that we are going with. Alright, so I'm really happy with the way the branches look right now. So I'm just going to go ahead and add in some textures to the trunks using white paint. Again, you can add a little bit of brown into this, but using my thin brush, the dry brush method, I am going to just add in a little bit of texture. It doesn't have to be the whole thing. It's just a little bit of texture to add in the highlights to my trees. Very few brushstrokes, you didn't have to cover the entire branch or the trunk. Just brush it over and that will add to the highlights of the branches that you see. If at all you feel that you've overdone with the white, you can always go ahead and load your brush with the darker color and brush it across so that you'll cover any extra white paint that you have. So it's a very workable in that way. You can always play around and just see whatever works for you. This is it for this lesson. In the next lesson, we will be adding final details to our painting. 11. Project 2 Part 4 : Adding Final Details: Alright, now that our base layer is completely dry, it's time for us to switch to our spoilt brush and we are going to go ahead and add in some more textures. I'm going to start off with the yellow color, the orange color, and the green color. So all of these colors are going to be what we use for stamping in the sheets. So starting off with the yellow, we are going to go ahead and add in some textures play around. Make your CI appear more fluffy with these gorgeous colors of autumn. So I'm going to start off slow, start off small. Then as I move around, I'm just going to switch to the different shades. I'm not going to really work on cleaning my brush here because it's okay to have a little bit of green and yellow together. You're just going to work in that, in that form itself. You don't have to clean your brushes. Right now. If you notice that when I add in the texture, it stands out even more as compared to the previous one. Because over here when you add in the texture, it acts as another layer. And plus it stands out even more because the base layer is completely dry. So this way the trees appear much more fuller. So whenever you're working on trees of autumn, to be, to be precise on the subject, you're working on trees with autumn. You want to make sure that you are working in at least 32 to three layers, like we had the base layer. Then we add another layer of red, and then we added another layer. So this is going to work around indifferent layers to make your tree stand out even more. Make it appear Dan. So without having to really work hard in just a single layer. And in such paintings, layering is literally everything. So once you master layering, you can break down a particular painting into different parts and then work with it. For an example, if I were to tell you that I showed you this picture and I said, You know what, this is, what we are going to paint. If you had no clue as to how to go about it if you didn't think it through, if you didn't know that, Okay, there are different parts in which you make it work. You'd be really confused. How how did we get this effect as to how did we make the trunk and the branches be as a sandwich layer? Or how is the base color very similar to the textures that we are adding over it? At the same time, completely different. So it's all about when you look at a reference picture, it's all about breaking it down in different forms, in different bits and then working our way through it. Now if you notice when you add in the textures, it stands out even more and it looks like a fluffy tree with beautiful, gorgeous autumn leaves. I've also added some strokes on the road, very small, tiny brush strokes. I just wanted to show that these leaves are on the road as well and not just on either sides of the road. And that is it. Right now. I'm just playing with textures, to be honest. Just moving around with colors. It doesn't have to be the same color that you see below. It can also be another color over, let's say we had green base there. You can add in a bit of orange in that section. That's completely okay. You don't have to work around in that exact color order or anything. So I'm really happy with how the left side looks. Let's move on to the right side. I'm going to start off with the yellow color, tapping in the yellow color, also making sure that I'm covering the road area. Right? So when we started off with painting the painting the road and the road, either side of the eight around the road. We had separate sections. They could really see where the road ends, right? But once I've added in the texture and fill that in, you can see that the road just submerges into turns in and goes into the section that is not visible to the observer. From this angle, you can see the road that as an endless section. You can see that as just goes as long road. But in this picture frame that we are painting, that's the only section of the road that you can see. So make sure that you are just extending the texture that you're adding with your spoiled brush to cover that little area so that it's not very visible. Other than that, again, the process is very interpretative, just playing around with extras for our Autumn Leaves. Alright, so I'm really happy with the way it looks over here. Right now. I'm just going to load my brush with some brown paint and go ahead and make some more branches. But I, but I feel that it got covered up with many, many layers that we added over it and a lot of different textures that we added over it. So I'm just going to go ahead and just sketch out a few more branches that are visible through these leaves as well, so they are still visible. I'm just gonna go ahead and lightly draw them out. As you can see, I'm not making long strokes, I'm just making a few shorter strokes to show these branches. Alright, now that we're done with most of our detailing, it's time for us to go ahead and just add a'd Few highlighted oranges and yellow colors. These colors are not gonna be the shades in its natural form, but rather you're going to add in a little bit of white into it. All the other colors that we walked around with in this painting were just in its normal form mostly. But right now, I'm just going to go ahead and add in a little bit of white into that so that it appears to be lighter and stands out as compared to the previous layer. And just go ahead and make a few strokes to depict the highlighted bits of our tree. So there are certain sections and certain leaves are areas that are going to appear a lot more lighter. The color of the leaves are going to be all different. So this way we add in a little bit of variation into our painting. This is a section and especially, I would say though the air, the timeframe where it is going to go ahead and add in any final details that you would like to add. If big a step back, actually just look at it. And if there's anything that you'd like to fix, anything that you want to add, maybe a branch that you think would look good here. Go ahead and do that. This is your moment to just take a step back and look at it, analyze it and see if there's anything you'd like to change about it and make those changes. I am actually really happy with the way this painting has turned out. Though it was a little bit complicated to depict and showed the different trees, but I think we've managed to do a good job in showing a variation of many different colored trees in that area. I've also gone ahead and added some texture in that area right next to the road so that it shows the different leaves and textures off the ground in that area. You can also tap in some fallen, fallen leaves. And once you're done with that, you're going to let it completely dry before you paint the tape off. Now, for the moment of truth, that is the tape billing section, which is my favorite pet about working so hard on a painting to see those clear, crisp, clean edges is what brings me so much serotonin in life. And just peel the tape off away from the paper. Okay, just, just keep that in mind. Other than that, take your pen white pen, white marker, black pen, black marker or whatever and sign your name to make this yours. You've worked really hard on it and I'm so proud of you. Let's have a closer look at this painting. So if you take a closer look, you'd see so many textures in your painting, all achieved with this point brush and a fan brush. You can see the beautiful shades of the autumn foliage. You can see the misty mountains in the background. The gorgeous row, like just imagine being on a road trip on the store or God, that is like a dream for me. The misty mountains, definitely my favorite. We've got a beautiful look with just minimum efforts. I would like to say, this is, this is our final painting. I hope you enjoyed painting along with me. 12. Conclusion. See You in Next class.: And this is it. You guys have reached the end of the class. I hope you enjoyed painting these two beautiful autumn landscapes with me. If you've painted along and enjoyed, don't forget to upload your class projects in the project section and do leave a little review for me. I find it really motivating. You can find me on Instagram at this simply aesthetic, if you want to share artworks with me there, don't forget to tag me. And you can also reach out to me if you have any questions regarding art in general. You can also watch a few of my other classes that I have here on Skillshare. I have about 12 classes, including this one, which covered different mediums and subjects. This is it I hope you enjoyed, and I shall see you in the next class. Bye.