Transcripts
1. Hello & Welcome back!: Autumn, the year's last loveliest smile, perfectly described by a poet. One of the most defining characteristics of the season is the new colors that fill the landscape with falling leaves turning into red, yellow, and orange. And that gorgeous color palette by nature is the inspiration for this class. Hello everyone, Myself Zaneena Nabeell. I'm a mother, an artist, and an art educator. I'm super thrilled to invite you all to this class, which is an absolute celebration of the season with colors. In this class, I will be teaching you how to paint five expressive autumnal landscapes incorporating the Autumn color palette by nature. Will have a detailed look at the color palette. The materials you will need. We will be talking about each and every art material and their importance in detail. If you have taken my other classes, you would know how much I focus on the techniques. I'm someone who value the process than the end result. This class is nothing different. I will walk you through each and every watercolor technique needed for this class, which will help you boost your confidence to handle the medium. And also these techniques will support in your future projects. Once you get thorough with the techniques, incorporating them we will be doing five beautiful autumn landscapes. In each of the paintings we will be focusing on different colors such as green, yellow, orange, red, and brown colors right from the nature. Now if you're a beginner, don't worry, this class is best suited for you to as this class is done in real time, focusing on each and every minute detail. And the step-by-step approach of this class can be followed by anyone and everyone. Okay, quickly go grab your art supplies and join me in the next section. Let's together spend some creative time and celebrate the season with watercolors.
2. Class Overview: I'm so glad you decided to join my class. This is nothing less than celebrating the Odum season with your watercolor palette. Okay, let me quickly give you an idea about the entire class battle. I guess most of you are here after watching my previous class on painting, art them trees with watercolor, where we explored how to paint different kinds of trees. We explored the different colors you can use for the fall season. And using those colours, we did try different trees. We tried a birch tree, a maple tree, a sweet gum tree, and different types of pine trees. So if you're someone who had tried my previous class, this class is going to be quite easy for you as you already know, which colors you can use. And you are kind of confident with your brush movements. So if you haven't tried my previous class, I would recommend you to go back and do that first. And China's with more confidence. Okay, now let me introduce you to the five beautiful autumn landscapes we will be doing in this class. This is the first one where we will focus on the color green. And slowly we will transition into yellow. This is the painting I have to send forward yellow color. And from there we will move on to orange. You can see all those pride, orange and brown tones. And here, then we will go into more of a red tone. I really loved this fun. That's my personal favorite from the five. And from there we will move into a much more taco tunes. This is the fifth and the final painting where we will focus on the color bonds, Sina and Payne's gray. Ok, so those are the five different paintings will be doing today. I have also added a technique section there I will be explaining about the techniques you will need for this class. We'll be using the same techniques, mostly for all of the paintings. So it's going to be quite a scene if you follow that technique fiction. I will also be taking you to the colors you will need for each painting. We'll talk about the colors and a very detailed manner. Now, I wanted to create a transition from yellow to brown in all these paintings. And that is the reason why I chose different colors for each of the painting. Now the color choices to click yours, if you wanna go with a different color palette all together, that's totally up to you. Feel free to do that. Alright, so let's quickly have a look at the materials and get down to the process.
3. Materials you'll need: Here are the five different art and glands kings. So we'll be doing in today's class. And the people that I'm going to use for all these five paintings as Canson heritage cold press watercolor paper. This one is an artist grade watercolor paper which has 140 LD. This one has a 100% Carter nashville, having a good quality artist grade watercolor people has a lot of impact on your end result. Maybe you might be doing the technique right, and you might not be getting the perfect intercept using the ramp. People can be one reason for this. So to get a better and yourself and also to enjoy the process fully, I would recommend you to go with an artist grade watercolor paper, which is a 100% Carter and the dissolves minimum 1-4 LB. Now the people, but I'm using for this painting as 26 centimeter by 36 centimeter. Adobe cutting one sheet into four equal pieces. And that will be the size I'm using for each of the painting. You can go with any size that you prefer. You don't need to follow the same size I'm using here now because my paper as a 100% cotton and it is cold pressed, you can see the kind of texture might people has caught. In this class, we'll be using dry brush technique quite a lot. So if your paper has a textured finish, it will help elevating all those dry brush patterns you will be applying and will make your painting look more beautiful. So mostly a 100% cotton watercolor paper has a text2. You'd be fine if you're going with a 100% cotton watercolor paper, the brand doesn't matter at all. Go with any artist grade watercolor paper, which is 140 Elvis and which is a 100% Carter and asphalt. You can use School Press jaw rough green people. Rough green people will have more texture then called pressed. You can clearly see the difference between draft and cold pressed from the image here or the first foreigner such offering people. The second one is called pressed and the last one is hard-pressed. I think you guys get a quick idea about the watercolor people, but you can use for this class. Next we'll have a look at the water cooler. I will be using tubed watercolor here. You can use either tubed watercolor, REO pant, watercolor, and doesn't really matter. We'll just need some fall colors like some orange, yellow, green, and brown. If you have followed my previous class where I taught how to paint different autumn trees will be focusing on the same colored palette I discussed over there. Now if you haven't watched my previous class, that's absolutely okay. I will be discussing each and every color you need at the beginning of each of these painting. To make it more handy. I have added illustrated, close and the resources section. But the brands I'm using any real, let me give you a quick idea about the colors will need some blue, green, yellow, orange, red, brown, and pink, grey or black. I think these colors are quite common. You all may have it. You will get to know more specifically about the colors I'm using at the beginning of each painting. Now, other than the foreign colors, you will need a white watercolor or a whitewash. For some very minor detailing, we will need white Kahlo. It can be either garage or it can be watercolor. Now for this class, most of the colors I'm using will be from the brand BWC. It is by Shinzen. It's a Korean brand. These are their extra fine watercolors. These are artist grade paint, are really loud them because they're quite vibrant and affordable as f2. So you can use any watercolor that you normally use. If you want a better result, covert artist grade what color? Now to mixing, you will need a mixing pilot. And hypothalamus. Quite messy. Advocates cleaning it. Don't worry about that. You can use a plastic panel or a ceramic mixing pilot, or another pilot you normally use. Ok, now let's talk about the brushes you will need. Throughout the class. I will be using for different pressures. One is a brush, brush and other one is a flat brush, then to round crushes. This one is a one-inch Rosch brush. I will be using this to apply a clean, even CTO water onto my paper. This one is from Princeton, relevant CDs. I normally keep us agree brush to apply that water or my people. I don't use it for anything else. So that my bread should be clean and there wouldn't be any bin's gene on my brush. If you have an extra branch, it's a great idea to keep it separate so that your branch will be cleaned all the time. So without worrying if there is any pinching on your brush, you can go ahead and apply that Washoe water will be doing five different paintings today. And for all those paintings, wherever I need to apply a quart of water, I will be using this one-inch brush brush. And this has several first painting. To painting those reflections, you will need a flat brush just for this painting. For the rest of the painting you will need a flat brush. So the pressure will be using as this fun at a half inch flat brush. Again from Princeton. You can use any medium to smaller sized flat brush. This gracious specifically to apply all those reflection. So it is quite easy if you have a flat brush, you will get those reflections ready easily. Are done. The first painting we wouldn't need a flat brush. So this has several painting to add in these reflections and also to add in that blue color for the water would be using a flat brush. For the rest of the four paintings, you'll just need to round rushes and medium sized round brush and a smaller size, John Parrish. Then of course, I will wash proneness to make your background wet. These are the two round rushes out we'll be using. These are from silver black but but Trash. One, a size number eight and the other one is sized number four. I really love these brushes because they comes back to a very nice point at two when dipped in the paint. So I'll be using the sizable for branch for all those tiny detailing. If you're British doesn't have appointed to, you need to have a smaller size brush ASCO, which has appointed to, to apply all those tiny t2. So those are the four vertices you will need for this class. One is the washroom to make your back on wet. The next one is a medium-size flag crush, especially to apply those reflections. Then you will need to round brushes and medium-size strong brush. I'm using size number ATO does is to apply all those major warship. Then you will lead us Marlowe's i strong brush. I'm using size number four here. This one is for all those smaller washes, and I will be using the same brush for all those minor details. So if your bridge doesn't have a pointed tip, you would need an extra brush. Size number 0 or size number two or any other branch recess appointed to. Okay. So far we discussed about the word globe people, the paint and brushes. Now let's have a look at the rest of the materials you will need. You will need a masking tape to mask all the four sides of your people. This one is a very normal stationary Bart masking T. Next to add in the sketch, you will need a pencil and eraser. Then you will need a paper towel will, will be using dry brush technique and all of our paintings. So having a paper towel is quite important. This will help you to remove the excess amount of water from your brush and leave a dry paint on your brush. And it will really help you in applying those dry brush patterns. So don't forget to grab a piece of paper towel. And last but not least, you will need to jar so water one has to stay clean and the other one is to rent out being from your brush. All right, so that's all about the materials you'll need for this class now quickly go crap, all the materials. Don't worry. If you don't have the exact same brush or the exact same color, amusing. Q, you can use anything which is kind of similar. Now having good quality artist create materials will really help you get a better result. But it doesn't mean you shouldn't be attempting this class, but your student grade paint, if that is all you caught, don't worry. Give it a try with whatever you have. There is nothing greater than taking an effort to explore something new and giving it a try. Take it as a learning experience and focus on the process than the enterocyte. I hope I will be seeing you in my next video. Alright, I'll see you there.
4. Techniques: Now before we start with the book Class Predicts, let's have a look at the techniques we'll be using for this class. The techniques involved in this class is common for all the five buildings will be doing. The main technique we'll use as a dry brush technique. You can see on all the paintings here, we have used the dry brush technique. Okay, so let's have a quick look at the techniques. Let's try with a dry brush technique, as does the technique which will be using mostly adding drivers patterns is quite easy. If you have a people toggle, that is the only thing you need to get those perfect dry brush patterns. If you are a regular student off my sculpture classes, you will know how much I love adding dry brush patterns. I use it quite a lot, my paintings, especially for mountains. Now, as I mentioned, having a paper toggle is a key. This will help you remove the excess amount of water from your branch. So let's give it a try. Let's do it without losing or people target first. So I'm loading my brush with the little blue. I have a little blue on my Padlet. I'll just use those leftover paint. Ok. I have loaded my brush, but inner for blue, I think I just mixed tornadoes blows I had on my palette. Anyway, that's not important. Now, I'm going to add multiple declines using my brush under like it are dry brush line. So the first one is quite thick and full of Kahlo. Even the second one, My pleasure still having a lot of column. Now the third one is kind of try, let's go with another one. So as I keep on adding these lines, the red paint on my pressure is being used and there was only a little dry paint on my brush. This is the same thing you'll be portable does when you tap your brush on paper toggle, the paper towel will absorb all those water condense from your brush and link the paint to dry. Now you can see how easily I'm able to create try brush B2. In this class, we'll be using this technique quite a lot, especially to add the foliage is rough. Adding these multiple lines to remove the excess amount of water from your brush, you can simply use a paper towel and you will get the striped pattern quite easily. So that's the first trick. Here in this painting. You could see, I use dry brush technique to add this foliage. Or how you use the same technique to paint the mountain in the background as well. That means you can use the same technique to create different effects in your painting. Now that simply try adding fully each using the stripe bridge technique, I'm using. Well Merlin, I loaded my brush with inner fall formally. Now I'm tabbing migration of paper towel. And you can see how the paper toggle absorbed all the water content. Every time you touch your oppression on the paper toggle, the paper towel will keep on absorbing that water content and to make your paint more try. Okay, that is the tri brush pattern using 1 million. Here is a closer look. Now I'm switching to a darker tone of Brown. And I'm going to add some try push buttons onto this so that I will fully tasks more tone scientific tools in our great landscape would be using yellow and SAP clean to create foliage. And in our orange landscapes we'll be using 1 million and Pullman orange. Then in drag, will be using permanent rules and our darker dawn of permanent rules. So you can use the same technique just by tweaking the colors. You can bring in different kinds of luck to your painting. So that is my tipo tune. You can see the pattern Hill. Once you have those background colors, these patterns would look more beautiful. Now as we're doing it on a blank Paypal, you may not get the real effect of folks. So that was a dry brush technique. Now let's see how you can be in this reflection. You will lead a flat brush to add these reflection. Anyway, let's have a quick look at it. So the first step is to add an even coat of water onto your people. And I'm using my one inch wash brush. Let me quickly add an even colder water. It is very important to make sure the goto water you're applying us even there is no Porter water in between. So I applied a light coat of water. You can see there is no water floating is just to shine equal to water. It is very important to have the right amount of water on your people. Your people shouldn't be too wet. If you back on the stool. But two can either wait for a minute. Are you can run your precious few times across the paper to make the code of water even. Alright, now I'm switching to my half inch flat Roche and I'm going to add the deflections using Sap Green. I'm loading my pressure, but Sap Green. This is a very interesting technique. So I'm going to drag my brush from top to bottom just to freehand line. I wouldn't be taking my brush back and forth. I'll just taught from the top and just drag it down and leave it there. I just drag my fresh town. Now I'm gonna repeat the same. I'm gently dragging my breath from top to bottom and I'm creating these lines. You can see the bottom of this lines are looking very small. Denies. That is because I'm not taking my brush back and forward. Once I have added one line and lifting off my brush. Now using the same technique, let's add some deeper tunes along the top line and mixing some blue and green together to put on a screen. And along the top line, I'm doing the same. Simply dragging my brush from top to down. You can see again, repeating the same thing. I'm not taking my brush back and forth. Once I have added one line and lifting off my brush. Let's add one more round of Dakpo tunes. Now we're gonna use in this technique in your future paintings, depending on the height of the tree you have about the horizon line, you can adjust the height of fluid reflection. If you have a taller tree, your reflection can be long and have a short Tree. Your reflection can be shot and ultimately can play with different colors. And I will autumn landscape, which we'll be doing in today's class who can't see we have added a less laugh Orange Asphalt. And, or to the bottom I have added some blue. Will take that out as we paint. Now here in this example, we got very smooth and nice reflections. Let's try out the same on a watery background and see what happens. I'm adding a go to water onto the background. It's going to be a very watery background. Not like the previous one. For the previous one, I went in the very light and shiny code. For this one, I will be calling with a background which has some flowing water. I have applied a heavy coat of water. You can see the kind of water I have on my paper. The waters floating down. Which means my background was too watery. Now let's try out the same reflections on this people. I'm going to sap green and in a similar manner how we did earlier, I'm hiding those lines. You can see the way my lines of spreading into the background and they're floating down. It is very difficult to control the way the faintest spreading. So the paper is the same, the planes the same, the pressures are same. It is just the amount of water you have on the background. The paint we apply the spreading into the background too fast. But just not controllable. You could see the one we did allele. It is looking so different from the one we did now. That is because we had the right amount of water on our background. This phone is still watery. Now you see my wash brush. I'll try to make the background wash even. And let's try out the same reflection again. Now, our background is better than earlier, but then it's still a little wet. Anyway, let's try out the reflections. I am going to the same passage, flat brush, and I'm going with SAP clean looking. In the same way how we added the deflections or I'm going to add a free hand line from top to bottom. My background is too watery, but it's much better than before. You can see my lines are still spreading into the background, but not like before. Then are spreading too fast. I didn't. You guys gotta clear idea about the amount of water you should be having on your background. If you are doubtful, Give it a try on a scrap piece of paper and try to get a better understanding. It makes a huge difference when you try out something by yourself, drags on looking at some videos. So give it a try. Maybe you'll have to try two or three times to get a clear idea. So we try three different situations. For the first one we tried adding the fluxions onto a shiny Goldwater. Then next we tried adding the fluxions onto it, too watery background. And after that we waited for a while. We made the background wash even and we tried applying the production onto that. That was much better than the watery background. But the first one was far Butto. So try this exercise by yourself and understand the kind of witness you should be working with. Now we have one last technique to explore. It's not a technique, it does just TO 300 pressure movement. So we'll have to create this grassy pattern for fuel. For paintings. You should be using a brush which has appointed a tip. Load your brush with enough paint and adding these freehand lines. You should be adding multiple lines in one goal. You shouldn't be lifting off your hand quite often. This is a great exercise to loosen up your hand muscles. Whenever you get time, practice this 300 lines or will be using this fresh momentum pre-approval paintings. You can see the orange one here. I have added the grassy Pacto using this technique. Now I'm adding fuel lines using green screen. In our painting, we'll be adding lines using paints query y, well Mullin. Okay, I think it's time to start double first-order Matzke. Here's the first painting from all autumn landscape collection. Will be exploring the reflections and we'll be exploring the tribe bridge technique and this one. Okay, without any module, let's get started.
5. Painting 1 - GREEN: For Hubble first landscape will be focusing on green column along with understanding the autumn colors, this exercise is going to be a perfect one to learn to paint reflection Task2. And now let's have a look at the colors you will need for this one. For the sky, the color I'm using here, acetylene glue. You don't really need to be going with citrulline blue. If you don't have it, you can use Prussian blue, cobalt blue, or any other glutathione. God, you can see, I just use a light tone of blue for this guy. Literally anybody would work. The next sheet is integral. We'll be using this for the mountain and also for the water. For the mountain will be using a light tone and we'll be adding dry brush batons. And for the water will be using a much more taco dawn of integral. You can see that over the bottom. So that is I was taking shape those other two blues you will need for this painting. Now if you don't have integral, you can use any other blue for your water and for the mountain. It isn't a big deal. Now, the next sheet we'll need as yellow, you can clearly see the rest of the colors from the painting. There is yellow, there is Sap green, orange, and 1 million and a bit of brownish torques. So the one I'm using here as cadmium yellow. If you don't have cadmium yellow, you can use gambled yellow. Now if you don't have gambles yellow, you can also use lemon yellow. So any yellow would perfectly work for your painting. The next furnace, SAP crane, you can clearly see that from the picture. Sacral is a pretty common Kahlo. It comes in most of the watercolor sets. I hope you all will have it. So we have a blue, yellow, and green. Now as you could see, the painting will lead some orange don'ts. So this one here, the light orange is permanent yellow orange. For this painting. I haven't used it a lot, but in the next painting, federal beggars in permanent yellow, orange quite a lot. If you don't have this gallo, You can obvious, mix your Campbell cello and love warmly, or any other orange you have caught. We just need a light yellowish stone of orange. Now the next color is vermilion. This is what you see on the right end. Unless his fired all the glands I will be using for this class as from the branch in hand. It's accordion watercolor plan. So this is the premium extra fine art does watercolors. Let's watch our woman Lynn. You could see on the right and there is some brownish don't asphalt. I'm not using brown assets for this painting. Wherever I need Brown, I will be mixing up breach of Payne's gray into woman in to get the brownish tune because it is just for adding those taco tombs. I'm not really adding a lot of brown tone to this. Now for adding all those Docker tunes are going to be using windscreen. I'll be mixing Payne's gray into green and also N2 orange to create all those darker Tony's. Okay, so those are the colors you will need for this painting. Now, the next color you will need as white. You can either use your white watercolor or whitewash. You can also use your white children, where we just need to add some lines in the water to create that reflection. So that's all about the colors you will need for this painting. Here is a closer look of the clothes. Don't worry at all. If you don't have the exact same colors. If you don't have paint grieve, feel free to use black. And the first two rows, if you don't have those, you can use any other blue dots have got. I think the rest of the colors are kind of common. Iu, Ready for all first autumn landscape. Go grab all the mutated essential. I mean, the next section, let's get started.
6. PART 1: So I have taped on my paper already. I have my palette here, and I have two which are so water violent I would've been keeping aside so that I can use it whenever I need clean water and learn either be using to try and stop the pain from my brush. And I have the colors here. We already discussed about the colors you would need for this painting. So we're all set to go. Let's start by adding the benthic skates. It's a very simple one. We just need to add a mountain. Make sure your pen to line TO ready light. This is going to be a snowy mountain. So if you add an, a very bold and dark pencil line, it might be very difficult to hide those pencil lines. So going very similar, light colored pencil line so that it won't be visible. Now let's add the horizon line and I think I have an add on for down. So a little bit below the center of the papal. Okay, so that's level horizon line right in front of the mountain about the horizon line will have a line of trees. And all the burden will have a lake with all those yellow and green reflections. So that is a pencil sketch. Let's start by adding even colder water onto the sky. You don't need to leave the mountain. It's OK if you're applying water onto the mountain asphalt, we'll be going with a very light tone for the skies so it wouldn't spoil your mountain. This is the brush I use to apply the even could a worker this one as one-inch brush brush, if you don't have a watch brush, it is okay to use your bigger size round brush. But make sure your pressures very clean. There is no strings of paint on your crush. I always give one brush aside for applying water onto the background this way, I'm quite sure there is no strains of paint on my brush. Now, this is when you have an extra brush. If you don't have an extra pressure, you just need to clean your brush thoroughly and make sure the precious very clean. Now, let's apply paint onto the sky. I'm going would certainly in blue are very light turn of certainly in blue. You can go with Amy blue that have got, go with a lighter tune and Tropp tied into the vector background. You can leave some white caps in between so that it automatically form some clouds. Focus more on the top area of the papal. Don't add a lot of blue closer to the mountain. It's going to be a snowy mountain and you want to retain most of the people, right? We'll be adding fuel blue tunes, the resolutely the papal wide. So focus more on the top area rather than the bottom, so that my sky, as you could see, I simply dropped in some blue here and they're leaving some white caps in between. Now let's wait for District Dr. meanwhile, let's keep the colors ready. For the mountain. I will be using integral. I'll be playing with a light tone of integral. We'll be adding some light washes and some dry brush batons. And for the trees will be using green and yellow mostly. I will be using cadmium yellow light and sap green. These are the two main colors will be using for the trees. As I mentioned in the previous section, you can use any yellow data of God. I think the most common one would be Campbell, Jell-O. The next one is Sap Green. The rest of the colonial, those orange tunes I already have on my palate. Now for the mountain, I will be using integral, will just need a lighter tone of integral. So if you don't have in dual, you can use any other blue as we'll be using a lighter tone. It doesn't really matter if her queen with any other plu I will take a bit of Interco on my palate. Now will be going to very light tone of integral. And we'll be adding some dry brush batons onto the mountain. The brush I'm using here, a sizable for round brush. You can go with any smaller sized round brush. I'm adding water to the page and I'm creating a lighter tone of integral. You need a paper towel. Now, once you have taken the paint on your brush, W brush on a paper towel to remove the excess amount of water from your brush. Just stuck to brush drill four times on a paper towel. And the paper towel will absorb the excess amount of water and lead the paint to dry the sphere. You will be able to create triplet patterns quite easily if you're attempting drivers technique for the first time or if an arc quite sure about the kind of thing to happen on a brush, just try it on a scrap piece of paper and make sure the page you have on your precious quite dry. And you're able to create these kind of patterns once you're sure about that, to cooperation a very random manner and add dry brush patterns like this. There is no particular shape or pattern you need to follow here. You can simply take your brush along the line of the mountain and add patterns like this in between. Don't forget to add these white caps never fill up your entire mountain. But Dr. Frisch patterns, you need to see that people white in the background, which will make your monitor look more snowy. You again see first-time following the outline of the mountain, then o to the surface and adding more triplet patterns. You don't need to add these patterns to the horizon line will be having a line of strings over there. So if you apply your not half of those patterns will be covered by the trees we have on the horizon line. So you just need to take it somewhere to the middle. So we have it was chi and destroying mountain. Next we're going to paint the trees. As I mentioned earlier, the two main close our videos and as cadmium yellow light and Sap Green. I will start with cadmium yellow. Now. And I'm going to add over here as not very perfectly shaped, our perfectly detailed These trees are quite far from you, so you don't need to put a lot of effort in detailing them out. Just watch out the way I'm doing it. I'm simply dropping in some color. I started with yellow, either keep switching from one color to another. So I added quite a lot of yellow over here. Now I'm switching to green. You don't need to wait for each column to drive and you're switching from one color to UDL. Let all those colors blend into each other and create beautiful blends. And now I'm switching to green, and I'm going to add some trees using green Hello right next to a blue. So you will get to know our event by lead the colors spread into each other. In this painting and playing good more of green and yellow using very little orange. If you wanted to add more orange, you could do that. You don't need to really follow the same order of colors. Amusing Hill, maybe right after yellow, you can switch to orange in sort of green. I added green right where I stop to yellow. And also sum over hill. Now onto the top I'm adding some rough shape of pine trees. There are actually a few different ways to go about it. You can either cohort very crisp and clean shape of pine trees just on the top are again, go with the way organic sheep and don't add these kind of pine trees on the top. So tools already warned, depending on the level of detail you want for your painting. As I'm adding the trees across to the other end, I won't be adding these kind of by increasing the top. You will get to see that in some time. So I'm going to follow a very organic shape. I will be splitting from one color to Anatole without giving a lot of focus on the shape of the trees. Now, as I mentioned earlier, you can do the same painting with any other colors you prefer. You don't really need to follow green and yellow. The main reason why I used yellow and green as that when I'm adding the friction, that is going to be quite easy. You all know quite well when you look at mixed with blue, it automatically creates a green. As we already have green interval painting, you don't really need to be worried about the yellow getting mixed with the blue and creating a green in your water. So you can be a little stress-free when you're adding the deflection. Now over here you can see the kind of shapes I followed for the trees. I'm switching to permanent yellow, orange and I'm adding some orange trees also. After this, I will switch back to green and yellow. And towards the end, I will add some woman, Lynn to bring in some more bright orange to our trees to make it look more like an autumn landscape. Otherwise it will be just yellow and green. That transition will be there. So if you just focus on yellow and green, it wouldn't look like a fall season. To bring in the autumn characteristics, you need to add some orange, brown are some red tones. Now for the rest of the area, I'm going to add more rough orange and brown tones. I'm switching to one Molina and I'm adding some orange trees over here. As you already know, when you mix orange and green together, you will get an olive green. You can see the kind of muted green I carnival Huo, when those colors for mixed together. Now I'm gonna go back to some freshwater Mullins so that I have some brilliant orange tones in my painting. And I will finish the rest of the trees. After this, we'll come back and add in the taco tunes to make it look more realistic. I have some leftover vermilion or my brush and I'm adding it all hue and a little over this yellow area just to give it a more, Alright. Now let's add in the deeper tones to entity. But dawns. I will be mixing paint gray into green to get adequate to not print. Similarly to get an able to enough orange, I've ever been shrimping screen into that asphalt so that I have a depot, Donald Brown without taking out Bonds Sina. Now half of your trees would be better and half of your trees would be try. The last set we added would be lateral bed. So we add them taco dawns onto that first so that it will blend into the background. You just need to drop and that taco tons of cream. So variable, you have added green mix Plains Cree into green and add darker dots like this. And variable you have orange. You need to make Sellers laugh pains cree into Orange and do the same. Make sure not to cover up the entire backend close. Just focus on the shapes and adding new taco tones. We added these yellow and green trees at the beginning and the background has slightly dried. So it does not spreading like the UDL half. But that is absolutely okay. Just follow the outer shape of your pine tree and adding darker tones. So the tree is we are doing here. So rough version of the last two trees we tried and above previous class, the orange one and the multicolored tree. We are trying to elevate the shape of the trees by adding Docker don't along the outer shape. You will need to add a lot of them onto the surface of the tree. Now, what the bottom, you can add more target tombs. The topic can be acids. Now in a similar way, how we added the dput on secreted. Let's add deeper tons of Orange Asphalt. Mixing a little offsprings cree into orange. This one is formally, you can use vermilion scarlet or any other orange, or it can readily use bonds Sina. Now dropping that tipo tombs onto the orange background, a very random manner. Okay, Patterson. Finally, i'm going with a much more deeper tone. I'm adding more pins cree into my 1 million. And we're getting a very taco tool. I'm adding those deeper dorms along the horizon line. You can drop in fuel onto the tree SAS for, but make sure you're not adding a lot for the trees we want to read in all those different dorms or yellow, green, and orange, we have got different tonal values of all these sheets. We want to retain that to make our trees look more interesting. But along the bottom you can add multiple tunes to make your trees look more tense and tick. You can see how gorgeous our trees are looking once we added in all those tipo tones. Ok, I hope that was easy to follow. I will see you in the next section where we will be adding the finer details onto the trees and we will be adding the reflection cesspool.
7. PART 2: All right, so we're done with the trees. We added the Docker dawns and everything was looking quite good. Now, I don't want the shape of the trees to be very prominent on the top. So I'm going to add some dry brush patterns onto the top to make my trees look under root blurry. I'm starting with the yellow. I'm loading my brush for the yellow and I'm tapping my pressure on a paper towel when just the way how we did for the mountain. I'm just taking my brush along the top of the trees and adding some tribes patterns. This is an optional step if you're quite happy with your trace and if you'd like to use clear and detail sheep, you can leave it assets. You don't need to add these dry brush patterns. If you're confused about the Luke you want for your trees, maybe you can fast-forward a v2 and see how my trees are looking and decide on which look you want for your trees. So variable, you have green, adds some green Trivers patterns and terribly hot yellow atom yellow drivers batons saying that orange. I'm just smudging the paint into the background. Let me quickly finished yourself. And after this we will be adding the deflection, which is which I am done adding the dry brush patents. Now here is a comparison. The first image shows how, what would trace where looking when we didn't add those striped patterns. And the second one is after we add those dry brush pattern. So you can decide on which look you want for your trees and follow whichever you feel looks better. Now it's time to add. The deflection will be using the same colors we used for the trees. Over the bottom will be adding some blue. I will be using Interco, as I mentioned earlier. The first step is to make the background red. So at pliant, even CO2 water onto the bottom ETL. I'm using my one-inch wash brush and I'm applying an even could a water for the bottom-most area where I'm showing blue, I will be using integral. You can use any other blue that you prefer. If you want a more pride to looking blue, you can use ultramarine. Are Prussian blue are any other blew? It doesn't really matter. Just where you have those reflection, you should be using the same colors you use for your trees. That is only thing you need to be careful about. To bring the water and adding those reflections, you need a flat brush. I'm using my half-inch flood Crush. We'll start with integral. We'll add that over the bottom, strapped in the UDL, which is closer to your masking tape recorder Docker to what there. As you go out, make the color lighter. You can take your blue almost to half of this section. And remaining will be adding the deflections over the border. As we are adding the blue bit ignorable oppression, horizontal moment we're taking from one end to the UDL and the horizontal Meno. When we are adding the deflections will be taking a little brush in a vertical movement. You will see that in some time. And let's make the integral a little more pride over the bottom. Then after this, we'll move to the reflections. You should be adding darker tones only at the bottom. You shouldn't be adding a lot over the top as you go up, your color should be lighter. Otherwise, when you add the deflection, that will be a very sharp separation. That transition wouldn't look smart. Ok, so I have applied indigo over the bottom. Now I'm switching back to my wash Kurdish and I'm just making the top video of vet. Make sure your brushes map too much water. We don't need a watery background. We just need a wet background. If your background is too watery, you wouldn't be able to control the way your paint will be spreading. So make sure you have a blight away, light colder water on your background. If you feel like there is a lot of water on your background rate for like one or two minutes and then apply the reflection. Ok, let's start. I'm going with the yellow first. I'm loading my husband flat brush with yellow. Have a closer look at how I'm adding the deflections. I'm adding some vertical brush line starting from the top. And I'm just dragging my bridge towards the boredom. I'm not taking my brush back and forth. Once I have dragged the bridge down, I'm lifting my pressure falls. And I'm doing that again. Now. I'm switching to SAP crania and I'm doing the same. So on the top we have the yellow and green trees the same I'm trying to create and the reflection. So we added a bit of friction first mile onto that, we are adding some green lines. Now, I have cleaned my brush and I'm switching to orange. We have one or two orange trace over there. Now I'm doing the same with orange simply at a freehand vertical breaststroke. Now, switching back to green, I cleaned my brush and again, adding some vertical lines from top to bottom. You can see the colors are not creating too much. This is because my background is not too watery. It is just slightly alright. Okay, I'm cleaning my brush again. Switching to that bright orange. This is 4 million and I'm adding some vertical lines using 1 million asphalt. You can see I'm simply taking the brush down. I'm just dragging the color down. I'm not taking it back and forth. Now going with that taco tone of Brown. Just like how we did that green on though, yellow. I'm doing the same over here using that taco prone. Finally, before the background Dries, I'm gonna quickly go and with a darker tones of green. And I'm adding some final to a distorted reflection. The only thing you need to keep in mind is that you shouldn't be taking your brush back and forth. Drag the average down, and lift your brush, then go with the next line. Don't take it back and forward. Looks like my penis a little watery. I'm typing repression of people total. And again, adding some lines from top to bottom. You can see the way I'm writing it. I'm just taking that line from top to bottom. I'm not taking it back and forth. I'm dragging my brush down and leaving it there. Again, dragging and leaving. Ok. So regardless how you do it. Okay, I'm quite happy with the way our reflection sandstone tau. Now before those drives we need to list off some paint. So I'm switching to my size number for Ron, crush, god, in me off your smallest size brush. Your bread should be clean. There shouldn't be any paint on your brush. Now liftoff the paint. We need to get some white lines. So d cube rationale linear mono. Everytime we looked up the pain to make sure to clean your brush. The lines I added their value random. There is no particular order or rules that you need to follow here. We'll be coming back and adding some more lions. You're seeing white watercolor. Now, let's add some taco tunes. I'm going with a depot donor cream. I mixed brains gray and sap green to get a deeper tone. Now I'm making the deflections look a little more realistic by adding some multiple tones. We need these depot don't only along the horizon line, the rest, you can leave acids. So I am simply adding some lines. So the lines I added now are actually Guidelines. And I'm going to focus on these areas and I'm going to add a medium tone of cream. This will make my reflections look more realistic. As you could see here when I was closer to the horizon line, I venting that the varied pulldown thick green tool. And as I'm coming down, my lines are very thin and delicate. They're shot as folder. You can see the kind of lions I'm adding QA. Those depot dunes made of or reflections look more realistic. Now I'm gonna do the same thing for those orange trees on the right end. Just like how we did for the green one. I'm starting with a tuple, turn of Brown. I'm explains Cree and woman Lynn. And I'm adding some lines using a tuple don't along the horizon line. Now I'm going to wash off the beam. And I'm switching to a medium tone of orange. And I'm adding that at the bottom. So we have darker dunes when we're closer to the horizon line and we have lighter tones as we're coming down. This will make your reflections look more realistic. You can see that transition from dark to light, from there to the blue. Now, I'm going to make the Bardo media of Baltimore darker, just the blue. I'm not really happy with the color I have there looking little toe. So I'm gonna go with a bolded on off indigo is just over the bottom. I'm not going to touch self-reflection. I would leave isotopes. I will just make the boredom Badaracco. So I'm going to apply some Dakota one-off integral. If you're happy with your water, just leave with acidosis. Actually, I wanted to Docker tonal would heal, but then when it dried, it became very dull and light. Applying our Docker tool. Now, I will switch to my flag crush and I've just blended taco dunes into the background. So just all the boredom. I will have a darker tune, the ADI, where my blue and deflections are meeting, it will be on dashed, it will stay assets. So I'm switching to my flag proof. I have some clean water on my brush and I'm blending those colors into the background. If you are doing this step, be very gentle with your brush movement. You shouldn't be disturbing all those reflections. And do bridge should be limited only to the idea of a. You have the blue color in the background. You shouldn't be taking your brush into the deflections. If you add blew over there, we will lose the color we have in the background and that might fall into your reflections. So once you have added those darker tones over the boredom, just the clean water on your brush and simply blend that into the background. With a very gentle pressure movement. Your bread should be just likely, but it shouldn't have a lot of water. If have a lot of water that can create some bleed, it can create a cauliflower effect on your painting. You can see the way I made the blue taco without disturbing the reflection. So you just need to add it our CO2 or with the proton and dip your brush1 water cleaner brush properly first, then make your brush slightly wet and blend that into the bag tout In a very gentle manner without disturbing the base colors.
8. PART 3: So this is where we have reached, let's wait for the water to dry. Meanwhile, let's add a branch, right to what HIEO, I'm using Payne's gray and I'm using my system before round brush. I'm starting with the main branch. This will be thicker. And all do this. I will be adding some ten and delicate small branches. If you don't have beans Craig and until US black, or you can go with the darker tones Brown. All right, I have added the branch. Now, I'm switching to yellow, amusingly fame creche ones I have loaded my brush but, and Afaf, yellow, I'm gonna tap my pressure on a paper towel, the foliage I'm going to add onto this crisis using dry brush technique. So it is quite important to have a paper towel so that you can remove the excess amount of water from your pain and you can add, try push patents quite easily. So I'm dabbling where Aboriginal people toggle. I remove the excess amount of water. Now I'm simply as crashing my brush on the branch here. So kind of patterns I'm getting, I will be repeating the same with green as fool. Now the texture on your paper is also quite important. You will get beautiful Dr. Rich patent if your people has a textured finish, also having dry paint on your brush. So these are two important factors to get the perfect Dr. Frisch batons. If you want to add one more branch, you can't do that. Or maybe you can add one branch from the other side as f2. So it's totally your choice. And also you can add how much it will follow each you want to add. I think I have added enough of yellow leaf stare now, unconscious bias to creep. And I'm going to repeat the same exercise. I'm going to add some old leaves using dry brush technique. May be a bit more yellow on the top. You can see how beautiful our painting is looking already. I'm really loving the mountain hiding in the background. Now if you want to bring in more autumn bite to your painting, you can add some orange leads us. Ooh, I'm not willing to add orange leaves are deleted this way because I have to sum orange color palette for another painting. And I'm focusing more on green and yellow color for this one. But it's totally up to you. If you wanted to add some orange leaves, Go ahead. All right, so that is arbitrary. Now the only thing left is adding the final details onto the water to make our reflection look more realistic. Now, as I mentioned in the first section where I introduced a close to you, you can either use byte watercolor or a whitewash. As you're just adding some lines. It is okay to use your white sharpener school. So I'm using my whiteboard glacier. This is titanium white. Well, we just need a tiny bit off white. And we need a British protests appointed tip. I'm gonna see my psi symbol for ground push. Fresh comes back to a nice point, so it is good for detailing ASCO. I took a little bit of white on my brush. Now I'm going to add some random lines onto the water. We need some thin and delicate lines. Some of them can be short and some of them can be long. Go in a very random manner and add fuel lines like this. Make sure you align two or not to hold. Your line shouldn't be two prominent again, see the way I'm adding them. My lines are not standing out. Here's a closer look. Don't go with a very watery paint as some dry broken lines. If you're adding a strong board and clear white line, they will be very prominent and it will stand out and may look odd. That won't add a realistic look to your painting. You should be adding a similar trial line. So if your paint is too watery, once you have taken the paint on your brush taboo brush1 of people taller and add lines later so you will be getting those dry lines. You can add a little onto the bottom mass will vary. We have the blue. You can clearly see the trial lines MIT. Don't add a lot. We just need a fuel here and there. Okay. That is a water and the reflection. I'm quite happy with the way it turned out. Now, I'm gonna switch back to integral, and I'm going to add some darker lines using integral over the bottom. Just a few random lines. I'm taking a wordy pulldown depot turn off into court on my brush. And towards the bottom, I'm adding some bold lines. And as I go up, either be making my lines, but it ten entelechy. You don't need to add a lot. We just need fuel darker lines or what the bottom soil focus should be over there. And then you're adding these lines. Make sure not to cover up those white lines. We need data sp2. Okay, I added some border lines over the bottom. Now I'm adding some thin and small lines over here. And we are done with our water. This is how all faintness looking right now, you can see that beautiful reflection. The trees, the snowy mountain, the background, everything is looking so beautiful. Now there is one single task left, the NEC task. I'm going to add some trees in the background, just a stem using whitewater Cl2. So I'm switching to my size symbol for around probes. You can use any of your brush which has a nice point at TTIP. Bring it some thin and delicate stem and branches. You can see the kind of lions or have added here of their very thin. If you go with a very bold line, it will go out of proportion. So please use your pressure, which has a nice point at tip. You can also use your white children and these white lines when we visible very heavier loads. So concentrate on the areas where we have taco tunes. On the right side where I have orange and brown tones, that is very much possible. And here ASCO, there I have the adequate enough green. Now I'm adding some over here. You can see the lines are not that possible. So continuity in the area where you have telco tools and you don't need to add a largest fuel lines are enough. All right, now we are done with double painting. Let's remove the masking T. I suspect some water see Peter with a bottom because Viola was adding the paint. I could really see that masking tape wasn't fixed properly. Anyway, I will be cutting off all the four sides and I will be making it look like postcard. So that's okay. And here several painting you can see the beautiful trees, the reflection that texture the water. Everything is looking so cultures. I hope you guys and chai painting of a first landscape very concentrated on the color green. Now in the next painting, we'll be concentrating more on yellow tones. Then we will progress to orange, to red, and then to prowl. If you didn't get this one, Dr. John Berry and runaway, trust me, as you progress, it's going to get better. So be here, bear with me. Let's together, check out the next painting.
9. Painting 2 - YELLOW: Okay, so we finished a little first painting and which green was the major? Hello. Now let's go over the next one. We're going to transition into yellow. So for the sky, I am using the same color to certainly in blue. Again here also, we just need a lighter tone of blue. You can go with any blue that have caught. As I mentioned earlier, it could be Prussian blue, cobalt blue, turquoise blue are Amy blew. It doesn't really matter. Now, as you could see in the painting, yellow, several major colo, and we have some orange tool and a bit of green. So that regionally and low data we'll be using as cadmium yellow light, same as the previous painting. If you don't have cadmium yellow, you can go with any of the warm yellow you have. God, I wouldn't prefer using the pneumonia loop because that is more of a Cooley Law which cause the grain as they using warm tones here, which is orange and brown. It would be great if you can go with Indian yellow, gambled yellow or yellow ochre, those colours will work perfectly together. The next sheet which I'm scratching cure right now as Bauman, yellow, orange. As I mentioned earlier, if you do not have permanent yellow orange, you can mix a pinch of 1 million OR scarlet to your Campbell cello and get a similar color. The next one is vermilion variable. I need to add those brighter orange storms out. We'll be using 1 million. The color battle is more or less similar for all the paintings will be doing in today's class. But then in each painting we'll be focusing on certain Carlos and most than the other color. For example. And the previous painting we focus more on green. Whereas in this one, we'll be focusing more on yellow. Will still be using up into green, but then the major focus is on yellow. Now to add in the medium tunes, I will be using bonds Sina. I'll be using it for the tree trunk gas flow. You can see in the painting towards the boredom or have used bonds in our quiet a lot compared to the top area. On the top I have used moral for yellow and orange. Towards the bottom, I have used more of Docker tunes. Now you will need a little law for green. I haven't used much. I have only added and loved screen onto the right side. It's totally your choice. If you want to add a little on the other side as well, you could do that. Now the last sheet of Spain's query, wherever I need to add the deeper tones, I will be using beams Curry. I will be mixing that with Byrne Tina to get a deeper tone of Brown asphalt. So all those places where I need to add deeper tones, I will be using Payne's gray. If you dont have been screen, you can go with black. We won't be using it directly, will be mixing backward brown. So blackwater will work perfectly. And here's a closer look of the colors. It's more or less similar to the first one. I guess you all have these killer sonic pallet whizzes leftover from the previous one. And I think we are good to go. So grab all the materials and get your pilot really. And to I mean, the nonfiction.
10. PART 1: We've finished our first Artem Lenski. Now we're on to the second one will be focusing more on yellow. And this painting. We already discussed about the size of the people that I am using. Q. You can go with any size that you prefer. Tip down your people onto a base properly, make sure all the four sides are firmly fixed onto your brings. I'm going to start with the pencil sketch. It's not going to be a very detailed scared. It's just some guidelines for you too. Understand where you need to put the clothes. So over the middle, I have a curvy pathway. When we are adding the clothes will focus on the area around us pathway. And we add taco tunes so that the spot we will get automatically defined by the darker dots around it. Now, we need to add some trees. Again, I won't be adding a proper sheep. I will just add two lines just to know where I need to put the colors. You can change the shape and size of the tree when we are adding paint. If you're more comfortable, if you have a properly detail pencil sketch, you can add the sheep properly now. So I have one tree there. Now I'm going to add a bigger one. So these two, I give a proper shape to the tree. If you want to go in a similar way, you can add all the trees and a properly detailed manner. Now, I'll simply at few lines. This is just a guideline. You can see the way I'm adding them over to the friend. I have longer lines. And as I'm going towards that partly the lines are getting shorter. This will give you a sense of distance in your painting. So as you go towards the vanishing point, make sure your trees are shorter. Alright, so that is a pencil sketch. Now let's start adding the pain. The colors I have chosen for this painting is more than the yellow and orange range. So these are the main three sheets I will be using for the spring to cadmium yellow light, permanent yellow, orange and Sap Green. In the previous section, I already gave you a quick idea on which colors you can use. If you don't have the same sheets, I'm gonna sink you. So follow them. Even the same sheet from two different brands can vary a bit. So there is no point in stressing out if you don't have the same brand or the same color, you can go with any color that is similar to the ones I'm using here. Okay, I have added a yellow and Sap Green onto my palate. And the last one here is permanent yellow, orange. Ok, so the colors are really on my palette. So those are the three colors will be using for the background washes. Now to add the tipo tunes, I will be using 1 million and buoyancy now. I already have a bitter woman nor there, I think that's enough. I've allowed some bonds in our school. It is very important to have all the colors in your palette before you start painting. Because we'll be adding all these colors and I will first war itself. The background wash is going to be one single wash with all colors in it. So let's start by adding an event go to water or to the entire people. Will be adding all the clothes and a single goal. It will be one single wash. Their bill, be adding all the colors behalf techno novel palette. Made sure the colder water you have a bladder, Steven, and there is no pools of water trapped in between a and b. You can run your brush two or three times across the entire paper to make sure the colder waters, even. Now we need to have a bit of blue Aspen, Amy Bloom was fine. You can either use Prussian blue, cobalt blue suddenly, and blue, turquoise, blue, Amy blue that you have on your palette. And we just need to lie to an off any blue. This is a brush. I'm gonna use size number eight round brush price, CBO, black velvet push. And I have a bit of 2x requires Blue Hill. I'm gonna use that for the sky. Just wipe off that the vapor cloud. I took a lie tone of turquoise blue on my breath and dropping baton over here, just to look blue on the top. So this is this guy and all to the bottom, I will have my yellow trees. If you want to have more sky in your painting, you can bring it a little more down. And if at all to see much of the sky, you can't reduce it as f2. That's totally up to you. Now, I'm washing my brush and I'm running my damn brush around that blue area just to make it a little more software. And writing a little more brighter blue over Hugh tendrils a lot tried to write my oppression at, at low water and I'm spreading that into the blue. I applied all Leo. Okay, so that is this guy. Now, I'm not going to wait for this guy to dry. I'm really going with the other colors. I'm going to start with the yellow. We all know when you mix yellow and blue together, you will get clean. So you need to be a bit careful over CIO. Don't take too much into the broom to turn it around those Ada very applied the blue. At the beginning I had applied and even colder water onto the entire Paypal. Wildlife is applying the color onto the sky. My pack on has slightly dried but at a stone on a condition where I can apply paint. So if your backward has completely dried, apply a quota water just under the bottom. This is to help the colors blend over the bottom. Please make sure not to rebut the ADR, which is closer to the sky. You can see the yellow I applied here didn't get mixed with the blue. The main reason for this is that my background I slightly dried. And it is not in a condition where the paint will float into each other. So if your background is too watery, you need to wait for it a bit. Otherwise, the blue and the yellow will automatically blend into each other, leaving out green and between the border media can be watery that or dam. There is no problem in that. I'm specifically talking about the area where the yellow and the blue is meeting or would that area you shouldn't be having watery or too wet background. Now, I'm switching to permanent yellow, orange. And I'm going to add them, maintain tunes. I will simply drop that into the yellow background. After those saddle switch to woman Lynn and I will do the same over indigenous to create a background which has different domains of yellow, orange bonds, Sina and cream. You can add them probably you want to. We'd also need to make this pathway lighter compared to the ideas that are rubbing it. Other than that you can add a close. How will you want to? We just need some yellow, orange, and green. There is no particular order that you need to follow. Now, I'm switching to 1 million and I'm dropping in more brighter orange over to the bottom. After this, I will add in some green. You can see the way I'm dropping in the paint. I'm not worried about having a clean, smooth blend. I'm adding Carlos one after the other, now switching to green. Adding some green oval Hill. The painter applied was a little watery. Just dabbing my impression of people total. And it's marching that colors into the background. So that over here I have some green tombs. I'm not going to add more green. I think I will stop with this because I want to spending to have more of the yellow and orange tombs along this pathway also, I will apply a light to turn green. Now if you want more green in your painting, you can apply some onto the left side as it's totally up to you. Follow you intuitions and add the close however you want to. Now, the remaining area, I'm gonna fill up with yellow. Onto this, I will be adding more orange and brown tombs. So as I mentioned earlier, our indigenous just to create a background which has some good blue, orange, green, and brown. There is no specific order or specific rule that you need to follow here. Simply dropping the kalos and create a colorful background. I'm adding some Orange Hill and after the seventh switch to Wolman learned so that I have some deeper orange. Then I will switch to Bond senior and add more deeper tunes. I'm deliberately not adding any more taco tools onto the bottom. I'm focusing on the areas around it. You're back home to spread. That will be a little off Paint spreading into that pathway, but that is ok. You will need to be worried about the hut. In fact, those little colored spreading into pathway will make it look more beautiful and more natural. So don't worry about that. But you shouldn't be deliberately adding more attuned to what they're just focus on the ADR along that curvy line. And that good dawns like this. You can see when I'm adding the darker tones or he'll get a spreading into my pathway. So what I'm gonna do is I'm going to clean my SSH and I'm gonna wipe off my brush on a people to our will. And you've seen a damn brush. I'm gonna lift up some paint from hero. Following that curvy line. You're pressuring me to bet. And also there shouldn't be any paint. Clean your brush properly and by peer pressure on people to learn so that your brushes just damn it, start to wet and dry New Brush around that Kobe Line and liftoff the pain from there. So there you have your pathway. You can see the colors around it are quite dark. And that is automatically defining ABL part, which now I'm going to add a more deeper tones. We need to add some orange drones to every little trees as well. We haven't added much of orange one to put there. I'm going with yellow orange and I'm dropping in some yellow orange abortion. I will do the same on the other side has four choose two little orange triangle area. We don't need a lot just to feel when you see the yellow color in the background would as well. So make sure not to go overboard. You can see I just started reading a little now or to the bottom. I'm going but much deeper tone of bonds Sina. I'm mixing things green and bond Sina to get a deeper tone. And then try to the bottom. And adding that in. My background does too. But you can see the way the colors are spreading into each other. If you're using an artist grade watercolor people, which is a 100% cotton, your people will stay for a longer time and you will be able to add all these colors in one goal. Now, after you have done out of the deeper tones at the bottom and concentrate on the areas where your tray triangles talking. So this is where we are having the trees onto these areas. You can add taco tone to Brown. The top area you can leave capacitors. We don't need any taco to until they're so Adam the Dakota onto what cure. And also along the pathway. All you need to do was go with a dark photon of Brown and add in some nine some scruples. Just had to whatever you want to, we just need some dark photon towards the bottom. There is no particular shape or anything that you need to follow. I'm going with a much more deeper tone of brown. I added more Bing's query into the Brown I had on my padlet. Now I'm going to go along the pathway. I'm just following that covary line. They have added and I'm adding more taco two until we're there so that my pathway will be more defined. I'm really loving the different tones of yellow and orange. I hope you guys are enjoying it too. Now, I'm adding more taco dorms along the pathway. You can see how these darker tones are automatically defining the pathway. We are not going to add any paid or they're not going to work on the pathway. The Stokoe dawns will automatically define the shape of your product. So take your brush along that curvy line and add more taco tones following the line you have there. Along this area where you have the trees, you can add some tea put onto Brown asphalt and began to merge that into parkland using the light to turn off orange so that your lines wouldn't be two prominent. And I'm taking a lighter tone of orange and I'm switching that around into the park round. Once you're done with this painting, you can try out the same with any kind of Carlo combination that you prefer. Maybe you can go with some more cleaner tools, some olive green and Sap Green and additional bonds. Siena, You can try our died competition. The only thing you need to keep in mind, the stat, we need lighter tones over to the top. And as you're coming down, you need more taco tombs. I think we didn't add uniform clean. I'm going to add some more green or worship. I'm not hiding Green onto the other side. I will simply add some over here. The other side are the only passengers on that. That is our base layer. Now let's wait for this to dry. Before we go into the next section, let's have a quick recap of what we did so far. We started off with this guy, the applet and even colder water onto the anterior prefer fluxed. And what does a talk, we add a little of blue. Then we went in with the yellow. And under the yellow we added medium tones of orange and bonds Sina. And after that we added more deeper tunes, especially onto the boredom. And also where we have the tree trunk and along the pathway following that Kobe Line, we added more taco tunes so that I will plot the weight is defined. Ok, so that is what we did so far. Now let's go on to the next section.
11. PART 2: Ok, everything has completely dried. We have obese Layer3D. Now it's time to add more details. Now to make the trees look more texturally and more realistic, they are going to add an dry brush patterns. So you need people to will, when you w Aboriginal people told it will absorb the excess amount of water and you will have dry paint on your brush. This will help you in getting driver's patterns quite easily. Now, if we're using a 100% cotton watercolor people, your people will be having some texture that also has an impact on getting good kind of drivers patterns. Okay, so I'm using my size and before round brush. This is the one I will be using to add the drivers patterns. If you want, you can use one of your older brush if you are quiet scarabs filing your brush because we'll be just scrubbing and scratching of a brush all over the yellow background we have here. So we introduce your older brush. If you'd homework just quietly or experts, they are disagree pressures. Now I have my people told their I'm loading my brush with permanent yellow, orange and dabbing my brush on of people toggle to remove the excess amount of water from my brush. And I'm going to take my brush around and simply apply tried patterns onto a yellow background. We already explored this technique earlier. I'm doing it in the same way. You can add an ass much buttons as you want, but make sure you're not hiding the entire background color. We need to see that yellow in the background. Some orange tones. After those will be switching to 1 million, and we'll be adding a taco tone of orange, blue. So there will be plenty of textures on your tree. This is going to make you look, treat more beautiful. You will see that in some time. You can see the kind of texture, some adding pure. I'm not worried about the purity of those textures. It's a very messy texture, but that's absolutely okay. Now, or to the outer shape of the tree, I'm adding some yellow dry brush patterns. I'm just taking it out. You can see I'm adding them onto the sky as flow. As you're adding dry brush patterns, it won't make a green over there. Because your sky has dried and you're applying tripe Williams who there's no way they will mix together and created Green. So without any field, you can go ahead and add in your yellow Dr. Frisch patterns. In the past. You can see how beautiful that top ADRs looking. We have some blue sky in the background and all those yellow leaves. Now I'm switching to permanent yellow, orange. And I'm going to add more dry brush patterns onto the tree. Every time you load your brush with paint, make sure to dab eternal people travel to remove the excess amount of water. Otherwise he won't be getting blue stripe patterns. Once you have that, try paint on your brush, simply scratched on that background and create these kind of patterns. Now as I mentioned earlier, if your paper is a 100% cotton and if it is cold pressed or rough green paper, it will have some textures on it. This will also help you in getting better dry brush patterns. So there are two things. Dabbing your brush on a paper towel and removing the excess amount of water. And also using a people would just Texture. I will add some more orange patterns. Then I will switch to a woman, Lynn, and I'll do the same. You can see all those different on top, yellow and orange tree. And I'm just slowly starting to look like the autumn trade. I'm going to add some onto the right side as flow. Okay, now I'm switching to a more deeper tone. I'm going to use bonds Sina, and I'm going to add some more dry brush patterns using bonds Sina, mostly over the bottom. So low pressured Burns say now, remove the excess amount of water and dry brush batons onto the bottom of those trees. We are going to create a darker looking bottom and a light to looking top. So onto the bottom we'll have all those deeper tunes. The top media, we will leave acetone. We will be adding more taco dawn to HOTAIR. We want those ideas to be very light and fresh. Okay, so we added in dry brush pattern TO ST. permanent yellow, orange while Mullin and bond Sina. Now I'm switching to paint gray and I'm going to add a trace. We'll be just writing to victories barn on the right side and one on the left side. And as we go towards the vanishing point will be making our trees shadow and mixing Payne's gray and bone C Now to get a deeper tunnels Brown. And I'm starting with my first trying adding the shape of your tree. The tree trunk of this one is going to be a little thick. Asked is, is more closer to you. Start with the basic shape of your tree and we'll be adding Brown tombs onto those to make arbitrary look more realistic. So I'm simply adding a sheep using a taco tone of Brown. There's a little hole over there just to make it little interesting. Okay, now I'm switching to bonds Sina. I will finish the remaining of the shape using bonds Sina. So but I'm adding bonds, you know, an extra that taco Donald Brown. So those two colours will mix into each other and create a realistic look to our tree. So I would be doing this only for this tree. And the one on the left side. The rest of the tree is r will be simply adding With queens Gray. I won't be adding more details onto that. Now let me add some branches. In between along those pockets you can add on top click tone. I love global and local at top brass food. You can see how nice and beautiful about Trait Loci. Oh, that is it will first tree. Now I'm going to add the remaining trees using planes query. To get the proportion dried, you need to make your trees shorter as you go towards the vanishing point. And also your branches should be very thin. So if needed, switch to a smaller size brush to get very thin and delicate lines like this. And I'm simply adding through your stem over here. Now, I'm gonna go with the next really. Maybe I will start from here and take it down somewhere to here. So that is the height of my tree. You can see the one on the foreground was quite tall and tick. And the one I'm doing now, it is very thin, uncharged compared to the one on the foreground. This is how you do it. Now when you add the next one which is behind this, you need to make it more shorter and more to know. That way you will get that proportion in your painting. It will really look like your partway as leading into a very far off place. And that sense of distance will be very much clear from your painting. So that's a right side. Now let's do the same onto a website. I'm starting with the small ones. The ones closer to the vanishing point should be thin and shot just like carbon cow, but on the opposite side. Now as you come closer, you can make your trees look tall, tick. Now, I'm going to add my next tall tree right over here. You can see the shape I'm adding QIO, already. Clean and straight shape. I'm taking my life in under two Coen Mano so that our tree look more realistic. So that's the half of the sheet. Now the next how I will be adding with bonds now so that we will get a more realistic look toiletry, just like we did before. And I'm loading my brush with bonds Sina, and I'm finishing the rest of the shape using buoyancy. Now, you can see how easily we are getting a car. You're straight trunk. There is some gap in-between. Maybe I will add one more tree. Right to all hill. Now let's start with bonds, Sina, the novels. Now onto this overlap term taco tones using paint screen. Just some nine so that the colostrum gets mixed into each other. Okay. And with that, we're done with the trees. Now you can see the bottom part of the tree. The looks like they're floating. It doesn't look like they're rooted to the ground. So to get rid of that art floating look, I'm going to add some dry brush patterns or into the boardroom. So I already have that darker brown on my brush. I'm tapping my brush on a paper towel. And along the bottom part, I'm simply adding some dry brush batons. Just like how we added on the trees. We added fully choosing Dr. Frisch batons. We added Dr. Frisch guide tones using larger dawn of orange and also using 1 million. So this time I simply changed the color. I'm using a taco John Brown, and I'm adding them along the bottom just to make the trees look more realistic. Otherwise they may look like they're floating in the air. It doesn't look like they're rooted to the ground. You can add some using bonds in our asphalt. Right where the tree is starting closer to the roots, go with a darker tone, then switch to bond Sina and asked him Dr. Frisch pattern testing bones in our hospital. So it will really look like the trees are standing right on the ground. And there are some dried leaves and so many Textures on the ground. You can clearly see the difference now, that weird floating Lukas gone. Okay, that is. Now in the next section, we'll be adding the final digestible painting.
12. PART 3: Our paintings looking so pretty orderly. Let's get onto the final touches and quickly finish shuffle painting. I'm switching to green screen. And I'm going to add some teeny tiny branches when he thin ones. So if your brush doesn't have appointed took you know what to do, you should be switching to a smaller size brush, which has appointed to so that you will have that sense of proportion in your painting. If the branch is you're adding our buddy board, you're painting will go out of proportion. You can see the thickness of the line term adding queue up there quite thin. So to get a similar thickness, you should be using an E detailing creche. There is no limit. You can add an asked many practice axial bond. So go around and pick each and every tree and an ask the new prime necessity u1. I've allowed a hanging branch or shelf, horrible victory. Similarly avalanche and auto branch onto the tree we have on the left side as far over here. I will quickly go around and added few more branches. I'm really loving the way this painting is progressing, especially those different dorms are yellow and orange in the background is really giving that autumn wives. I hope you guys are enjoying it too. And again, see the different kind of textures be created in this painting. And especially that part. Because you have a light to do at the vanishing point, you can clearly see that sense of distance. Now, I'm going to add some dry brush particles using that darker tune over the bottom, just like we did earlier. One last round of dry brush batons. I'm just making use of the paint I have on my brush. The one I took to add those branches, I didn't have my version any new paint ok. That we added in a file, Dakota ones on the bottom. Now we're on to the last and the most interesting step of this painting. Cleaner brush thoroughly and switch to yellow, amusing cadmium yellow here. And I'm going with a thicker yellow. So retrievability, yellow you used for your background, Use the same yellow will go in a thicker consistency, just like code reuse force platform that stars. You should be very opaque. So the consistency really matter. Now you think that we are going to add some leaves like this. Concentrate on the taco area. You can add some on top of the tree trunk, sum onto the boredom S4. So if you're adding them on a taco background between realist timed out and make your painting look more interesting. If you're adding what a lighter area, it won't really make any difference. So go around and pick all those AD APA, you have taco tombs and adding some leaves US India law. As I mentioned, go with a thicker consistency. Otherwise you won't get that opaque leaves. If you bring the stool, lose one CEO backbone tries, it will just fade away. So consistency is the key. Go with a very thick paint out and leaves like this, just going to run to mono and wherever you want to have them. You just need to press your brush and create these plateaus. The shape of the patterns Joseph drew early motto is just a ready, rough and a blurry Shi. You just need to keep on pressing your brush. Now, I'm switching to 1 million and I'm gonna do the same. Again. I will go around at random ADRs and add some leafy patterns just by pressing my brush onto the people in between at some places, add them on top of the tree trunk, cast foo. It will give a different look to your painting. Now we can see the difference between the right side and the left side. The left side is looking so cartoons, there are so many texture, so many different tonal values, and everything is looking so perfect together. In a similar way, we will be adding leaves onto the right side as well. I'm going to add some orange leaves or will heal right at the top. You can see the way I'm pressing my brush onto the paper. It's not already beautiful pattern, but altogether when we have so many different tones and textual at us making up oh, painting look beautiful. But if you look at it closely, it's a very messy textual. This is why I always say you should trust the process. Never worry about the end result when you're painting something. Just enjoyed the process. One to start enjoying the process and when to focus on the process more than the intracellular. Automatically you're painting will turn out good if you stress out a lot and if you're worried about the Andhra served, you won't be able to enjoy the process. And every British moment you will be adding that so much of tension and stress. This will affect your anthro served. So to get a beautiful Andrew said, the best thing you can do is enjoy the process. Immerse yourself fully in the process, and enjoy that moment. Enjoy the way the colors are playing together and creating those car just affects. Now, I'm going to quickly go around and add in some leaves on the right side using yellow and 1 million. Ok. Going back to some nice fresh and adding some more lives, mostly on the tree. I'm really loving the way the leaves are looking at adding on top of the tree trunk. This corner is looking so protein and allowing that cream in the background and those orange and yellow skill. I think I will add few more yellow leaves. One. So I have added enough, I will switch to the ground and I will add some leaves using yellow similarly on the ground, husband. And that'll make it look like there are some leaves fallen on the ground and it will really give that autumn wipes. Okay. Now when you're adding these patterns on the ground, you should be very careful about the size. It shouldn't be too big. You should be adding in a similar size. I'm I didn't kill for the tree is we had a background Leo and adding the colors onto that. So the shape and the size doesn't really matter. But over Hill, it's a very dark background and if your lips are too big, it will go out of proportion. Now I'm switching to permanent yellow, orange. And again, I'm adding some leaves on the ground. Oh, now I'm going to switch to 1 million and we'll do the same. So you have leaves up different colors on the ground. Some of them are yellow, some of them are light orange, and some of them are talk Orange. To bring in more colors onto the ground. Let's do the same using a taco tone of Brown as f2, so that it will look like there are some tried leaves on the ground. Okay, let's switch to a taco. Proud. I have a little leftover hero. I think that'll be enough. So go with the taco to know, frown and simply add in some tried leaves. You just need to simply Brasil brush onto the people and create these kind of patterns. Just go in a very random manner and make sure your protons are not too big. We just need our lead to mostly over the bottom actually onto the background. You don't need to add a lot just at the bottom. And the time we're done the Terrible painting, I'm really, really happy with the way this 1to1 tout. There are so many colors and textual sentinel values. Let's quickly review the masking tape. And here are several finished painting. I hope you all enjoyed painting does yellow autumn landscape. I'm really loving the textures and the colors we have and he'll give it a try. I'm really waiting to see your car, just class projects. So we finished a green autumn landscape. Now we did a yellow one. Now it's time to.
13. Painting 3 - ORANGE: Hello, hello. We furnish, DO painting so far. Now we are no. Third autumn landscape, where we will be exploring the colored orange. Let's quickly have a look at the colors you will need. For this painting. We won't be using blue sheet for the sky. Instead, we'll be using Payne's gray, will be using a light off brings great for the sky along the data we'll be using some bonds, singer aswell. So what the varName scratching cure, Spain's green. This is from right now. For this painting, we are creating a different mode altogether, so I don't prefer using blue for this guy. We are creating a cloudy and Moody's guy. That's fine. I'm loosing Payne's gray. Now the next sheet you will need as bond three. Now, as you can see here, I have used a pinch of that for the sky asthma are ready like 2mm. And to ignore those deeper dorms also, I will be using bond Sina. And wherever I need to apply those deeper and taco dawns, I will be mixing paints gray and balancing up. You get either mix and create your darker brown or you can use bond on board directly. From this painting, it is quite clear that we'll be using quite a lot of orange. So the next color I will be using as permanent yellow, orange. That's a very nice yellowish orange. And the next one is raw million. This is for all those brighter tons of orange. For this painting, we'll be working with a very limited color palette. Other than these four colors, you will also need a white or declared or whitewash. We'll be adding some graphs using whitewater gloss over the border. You can either use bright guage or whitewater. Ok, so we'll do set the full sheets, you will leave. Okay. So squeezes out all those full colonial pilot untie me in the next section. Okay.
14. PART 1: And here we are on our third painting pair. We are focusing on the color orange. I had taped on my paper already, and I'm going to add a simple pencil sketch. I've allowed a line drive to work here, which is hello horizon line. Then we'll add pathway in the middle. Now when we enter paint, then I'm going to follow the exact same shape of the bottle, the adage right now. This will act as a guideline just to understand where we need to add lighter tones and darker tones. Okay, now let's add a fence to get that sense of proportion in your painting. The wooden post which are closer deal should be thick and Tom, the ones which are away from you, which is closer to the horizon line should be shot. Alright, that's several pencil sketch. Now let's try adding the paint. As I mentioned in the previous section for the sky, I won't be using blue. We'll be using a light to turn off Bowen Sina and painting screen. I'm going to create a cloudy and a very dels Kai. I'm adding an event go to water onto the entire paper. Will be going into one single wash. And we'll be adding all the colors into the pack drawn will be doing the sky, the trees and the bottom ground, everything in one single Bosch. And onto that we'll be adding taco tunes. Okay, I have made my background bit brush I used here as those inch flat brush by Princeton. As I said earlier, I always keep one brush aside for applying water on my people so that there won't be any pain leftover or my brush and I will get a clean, even Washoe water. You already know the four different colors you will need for this painting so you can keep them ready on your palate as the agreeing with one single layer, it will be great if you have all the colors ready so that you won't be wasting your time and your backbone won't dry off. So I'm starting with Plains Cree. I'm going to squeeze out a little of plains Cree on my palette will begin with a very light tone. I already have born singer on my palate. Now over to the bottom, very hard the horizon line, we'll be switching to permanent yellow, orange. And as we come down, really be switching to 1 million. So let's keep those colors also reading on a book palette that is permanent yellow, orange. If you don't have pulmonary yellow orange, you can mix gambled yellow and a little over 4 million and get a similar color. Now I'm squeezing out a little over 4 million ASCO. So we have all the colors really ownable parallel can be our whole set to go the first sheet and going with explains Gray, I'm starting with the light to turn off beans Green. And I'm going to add that onto this guy. I will bag and under his bed and we have a loose paint. Now, I'm going to simply drop that onto the sky, leaving some white caps and between onto those gaps I will be adding bone Sina. So just dropped a color onto your sky. You can see the way the color is bleeding and spreading into the background. Go with the lighter tone. Don't go with the very poor then D2. Now I'm switching to bond Sina, and I'm adding that along those gaps we left in between. You don't need to mix those colors, let it blend into each other naturally. Now we have a layer light to turn on, wanting out onto the left side as f2. Then I will switch to a more important are done of bonds Sina and add that along the horizon line. Now say come to either make my bones, you know, more Bordeaux. This is the ADR, obey your sky and the land is meeting. And in this video you will have more ofs taco tools. So we'll switch to a taco tone of bonds Sina and add that along the horizon line. Maybe a bit more. Now, don't worry if your background is not looking that small 10-fold effect, that's absolutely OK. Once it dries into a look beautiful, you need to have those textures in our back now, we really don't need a perfect damn smart blend over the horizon line. Let's go with the more important OR NOT want Sina. For this painting, the backbone is going to look a little tilted, but then we'll have a very bright orange for crown. And also we'll be adding a branch hanging on the left side onto that also, we will be adding some yellow and orange leaves. I'm gonna worship the things from my branch and I'm switching to permanent yellow, orange. Enter your boredom. I'm gonna apply the scholar. When I'm adding orange color onto the ground, I'm not going to leave that Barkley. I will be adding color onto that house Bu, but then I will be going with a bit of brown tool and I'll be filling that Ada and drown. Everything will be in a very abstract manner. I wouldn't be following those lines perfectly. Now switching to burn Sina, I'm dealing with a lighter tone and chopping that along the pathway, along that pathway to be very prominent and visible. So rather than concentrating on the way, I will be focusing on the area around it. And I will be adding Docker dorms along the shape of that pathway so that the body we will get to a way to automatically, ok, so we have our background layer greedy. Now I'm going to switch to bond. Sina will be adding the deeper. Don't now go with medium to dark with ton of bonds Sina. We just need to add in some lines onto that orange background following the outline. You don't need to exactly follow the outline, simply dropping some lines like this. We'll do the same on to the other side our screw. Once you have added a medium tone of buoyancy, now we'll switch to a taco tone and do the same using a dark photon of ponds Sina. Those multiple ones of Brown will make your partner look more pretty. So vital sign medium total. Now I'm going to do more bolder dawn upon Shrina. And I will randomly go around and adding some darker line Task2. Even though I didn't follow the exact shape of the pathway, I still retain the lighter tones over there. So this is how you should be doing it. Well, we need that Ada around the pathway to be dark and the area where you have your pathway should be lighter so that it will get automatically visible without adding a lot of details. Now, i'm going with the more taco to Donald Brown and adding beans Green into my bonds, say now. And I'm again adding fuel lines here and there. To start a few lines along the bottom, you don't need to add a lot. You can see here, I didn't add a lot. I just added fuel lines along the bottom. I washed off all the paint from my British and I tag my brush on of people toggle now with my damn brush and simply spreading all those lines into the background to make it look smarter. So that my lines won't be very prominent toward be buddy sub2. You need to do this only if your lines are to Boulder, to prominent. Okay, so that is a little background. Now I'm gonna lift off some pain from that pathway using a damn brush so that this area will be little lighter compared to the area around it. To stick a damn brush, liftoff, the band variable, you want to make it lighter, vibe that being done and people toggle and repeat the same and make that Ada ugly, lighter. You can see here my background is not having a full effect and smoke blend. It is looking a little shirt right now, but that's absolutely okay. You don't need to worry about all those lines and all those patterns you have on the ground will be adding more details onto this and, and everything will complement each other at the end. Okay, now on to the top at the horizon line, I'm going to add some Takata onto Brown. I'm too lazy to squeeze out blown senile, so I'm grabbing a bitter woman, Lynn. I mix that with paint grey. Now I'm adding some target on total here. You can see my packet on has kind of drive. It's not wet. You can simply add in some taco translators. Just running a brush and a doctorate mono, and create some patterns. All you need to do was just keep on pressing your brush against the people and creates a messy patterns hill. Now I'm going with the more taco tool. I'm mixing a little more of things cree into my problem. And I'm going to add more pattern to what he'll using that taco tone. We need those darker dawns only at the bottom. You don't need to add a locked or what at top. Just like how we did 12, you keep on pressing your pressure onto the people and create these kind of patterns. I don't know how to explain the shape of these patterns. You just need to keep on pressing your brush onto the people. And it's a very random and organic baton. There's no particular shape for it. All right, with that, we're done with the whole background layer. You can see our beautiful cloudy sky and everything is looking so beautiful. I'm kind of loving the color combination we chose for this painting. Especially that transition from that taco prone to that bright orange. Okay, now let's wait for this to dry. After this, we'll be adding the final details. Ok, my background has completely dried. Now I'm switching to my size number four round brush. And I'm going to add field branches on the top. To add the branch I'm using cleans green. You can use pins grey or black. Just like how we did for the first painting. We need to add hanging branch on the left side. Stan, I'm going to add two branches. You can choose your location. If you wanted to add the branch on the right side, you can do that or if you want to add it on both the sides. Satisfied, so up to you. So go ahead and take the idea that you want to add the branch, you'll middle main branch would be Tucker and again that dynein smaller branches going into that. That's the first branch. Now I'm going to add another one over shell. In the upcoming sections, we'll be adding leaves onto those you've seen Dr. Frisch technique and also lead to be adding some graphs on the bottom.
15. PART 2: Now let's pin this fins. I'm going to switch to bond Sina. And I'm going to paint all of those wooden post and bonds Sina. Simply fill up those shapes and bonds Sina, we'll be adding the Docker don't onto this later as the first wouldn't boast is much more closer to you, the details will be a little more visible. So I'm going with the cuticle shape for this fun. The rest of it, we haven't the background. I'll go with the simple linear shape. We have some literal bonds in the background. I'm simply adding a line using bonds Sina. Okay, now I'm switching to Payne's gray. And onto this I'm going to add the t put tones to make it look more realistic. For this, you can add us so Clark top, then add fuel lines onto it. That is all you need to do. You can see the kind of lions and adding cured, they're very thin. And to locate similarly, I'm going to add few line two under the other one test Foo. So you have a born Sina background. And onto that you're adding some thin lines. You can see how easily they made them look like food. Now I'm going to repeat the same for the other wooden for Sass when asked to go to the ones in the background, you don't need to add a lot of lines. Just one or two lines are enough. We have three of them and the background. So I'm simply adding a line on the left side and on the top Bascom. Okay, so that's done. Now, our main task was to add grassy pattern onto the ground. I'll be using whitewash. Our they'll be using well Mullin and tobacco tone of Brown. And also something's great. Using these four colors are going to be adding, you know, full of grass onto the ground. We discussed how you can add these freehand lines already in the technique section. I will be following the same technique CEO. So I'm starting with the base to orange and mixing some orange to my wide crash. And I'm going to add some grassy pattern. I'm going to be adding thick and dense pattern over the bottom and onto the back home, I will be adding very less. Ok, let's start with that base to orange. If you don't have, Gosh, it's okay to use your whitewater color. In the first painting, I didn't use squash. I used a whitewater Adler. I used right vertical over there. Just to make you understand that even whitewater global work, it is not necessary to have a play squash. Okay, so create your own pistol orange by mixing either white guage or whitewater into your vermilion or any other orange. And add an interval of grass. So I added fuel grassy patterns using that orange. Now I'm switching to 1 million and I'm going to do it the same. You don't need to mix wide Washoe whitewater, go into it. You can't really go with a brighter tone of 1 million and add an enough grass onto the bottom. Woman in is a highly pigmented and rich color. So you can readily use it. It will be visible on an orange background. You can see the way I'm adding a T0. When you're adding this grassy pattern, there is one thing you have to keep in your mind. Don't add those grabs onto that pathway in the middle. So remember, we had left off some paint from the middle to indicate the pathway. We made that area lighter. I think I can explain it better with the finished painting. Okay, so have a look at this. You can see the places where I have added two secrecy pattern. I had love some gap in between which roughly indicates that pathway. In a similar manner, lever gap in-between, don't add crafts onto that pathway. You can concentrate on the area around it and add as many graphs as you want. Now, I'm adding this freehand line to Tsinghua Mullin. Let me quickly go home then adding as many lines as I can. This may take a while, but then the more you add, the more Purdue your painting will be. Okay. Okay. I think I did quite a lot. You've seen vanillin. Now I'm gonna switch back to y. And we're going to add some cross your single whitewash asshole. Right now I'm switching to a dark photon of Chrome and mixing pinch-off paint Cray into bonds to get a frown. And I'm going to add more crass. You're seeing that taco tone. I'm focusing more on the areas where we have those friend almost. And I'm adding quite a lot of grassy pattern or whatever. I want to make those Ada look more tense and TIBCO. Okay, with that, we're done adding the grass. It took awhile. But again, see how Karl decide well, Crown does looking. Now I'm splitting to Payne's gray and I'm going to add the string onto these foot and post to make it look like a fence. Line over here, then connect them using a very thin and delicate line. But as I mentioned in the Art Supply Section, might push has a very nice point. You can see the kind of line I could add with approach. It's a size number four, Von Crush. So if your brush doesn't have appointed to switch to a detailing brush, you shouldn't be adding a bold line to make it look like that string. It should be very thin. Ok, now add these kind of Lions onto the other wooden post as well. Okay, there you go. We have furnished ever part of ADR. Let's click, click, Go to the next section and finish up old painting.
16. PART 3: Now onto the background, I'm going to add some ten stem bronchus. And using a taco dawn of Payne's gray and I'm using the same brush. We need to have some thin lines. Use the same breath she used for adding those metal strings for the friends. We need to get similar thin lines here as f2. In a similar way, I'm going to add some ten stem and Brian just onto the left side. Now we just have one final step left, and that does adding leaves onto that branch. I'm starting with Poland and yellow, orange, and I'm going to add some leaves onto the brand just we added on top. First we can start by adding some sorted Carlos onto these branches. And after that, we can add some leaves using dry brush technique and smudge those patterns into the background. Ok, let's start. I have loaded my pressured permanent yellow, orange. You know how to make bone into the orange thrown how one makes Gameboy Jello or any other yellow with little loss will million are scarlet orange. You will get a similar color. Now, take your brush and depressing moment and add these kind of dots. Add them close to each other and create a cluster. Now I'm switching to 1 million and I'm going to add some taco tons of orange. Again, I'm taking my oppression, oppressive moment and creating some doctored baton to add the leaves will be using three different clothes weren't as permanent yellow, orange to get that lighter and brighter tone of orange, then we will be calling with 4 million for the medium tones. And after that, when switch two bonds so you not to add those deeper tones. So these are the three colors will be using to add those foliage. So I created few clusters using that portrait battle. Now I'm simply scratching my approach and creating these dry brush batons and times marching goes close. I added, I'm going to put it to condense fully age. If you would like to have very little foliage, you shouldn't be adding this much. You can just add some dry brush batons. I'm David Tacitus. To add these dry brush pattern, simply scratching the hair of my brush. I'm gently scratching the hair of my pressure on the paper and creating these kind of dry patterns. If you paint us do watery, you won't get these dry patterns. So if obeying does watery, w pressure on of people target and remove the excess amount of water and tap try paint on your branch, which will help you get these dry patterns quite easily. Now, i'm going with a taco turnover Million. And I'm again adding some trifecta. According to how bright or dark you want your foliate, you can keep on switching from one color to shadow. If you want a board prior to looking for early age, you can call what permanent yellow, orange. And if you want a more talker and tried looking for lead, you can go with volume and bonds Sina. So depending on the kind of Luke you want for your foliage Schuster kalos. I am done adding foliage onto the tree. Now, I'm going to add few tribe patterns onto these trees in the background using 4 million. I'm adding some try push batons by simply scratching my brush on the paper. I will quickly add one round of dry brush patterns using 1 million. I'm not going to add a lot. If you want a more thicker and denser looking back home, you can switch to pulmonary yellow, orange, and also pond sooner and make it more tensile by adding more and more try brush batons. I'm adding a little onto the park and mass flow. There. They have the fence. And we are done the tabular toward autumn landscape, the masking tape, and have a look at Apple finished painting. Look at these texts, sales guys. I'm really loving the foliage and I loved the colour companies. Getting everything came out just perfect. I hope you guys and charted to give it a try and let me know your comment in the discussion section.
17. Painting 4 - RED: Alright guys, be finished three autumn landscapes. We finished a green one, a yellow, and an orange one. Now it's time to try something and Dre. And here's the painting we'll be doing to explore the Collaborate. Okay, let's try out the colors. For this guy, I will be using Taylor blue. It is because I had some leftover page on my palette. You can use any blue that have got either Prussian blue, cobalt blue, two guys blue, or Amy blue as fine. The next Kano, you will need a surprise tray. For this painting. I'm using permanent tools. You can use chromosome are Carmine instruct that pride or radish rules? I guess most of you may have carmine or chromosome. So don't worry if you don't have permanent rules, you can use either one off that this one has a vetting per tube. Pride falls. I really loved this yellow. You can see how it is looking. Wonderful painting. That's a buddy boiled and rich color. Now, along with permanent rules, we'll also need some ball milling to add the pride to tonal orange. We'll be using that for the trees and also for the bottom ground. Next year would lead to permanent yellow, orange. I will be using this color for the house and also for the bottom. And finally to Adam, the deeper tones and the final details. So you will need ponds Sina. And being scary. If you don't help brains create, it's absolutely okay to go with black. So quickly grab all the colors, quiz the ammonia palette, and try and meet. In the next section. I'm really excited for this painting. This is my favorite from the five. Alright, let's start.
18. PART 1: Hello, hello, we have reasonable fourth autumn landscape. For this fading, we are going with some intense red and draws. This one is my personal favorite from the five autumn landscapes we'll be doing in this class. And for the same reason, I'm quite excited for this painting. Without wasting any time. Let's stops. Firstly, it add the pencil sketch. You will need to add horizon mine are little below the center of the paper. Now we need to add a tiny house. It's a very simple, basic house. Adenine client line first, Now in a similar manner and another inclined line to the opposite side. And I'll finish up straight line, straight line at photo Kinda doors for them in client line which is parallel to the other one, fasted roof. Now add the remaining lines. Let's add a door over a hill. Okay, so that is little pencil sketch. If you have taken my previous class on painting Autumn place with protocols, we have tried this maple tree and sweet country in this combination will be using the same completion for the sprinting to create that reddish background to link colognes, we'll be using our permanent roles and 4 million. Before we begin, let me make my bad maturity has quickstart 4 million, permanent rose, permanent yellow, orange. And two, I don't know those deeper dawns, I will be using paint Greece or let me squeeze out that as food. So I have all the colors iterating on my palette. Let's start by playing a coat of water onto the sky, amusingly worn and George brush. Just to play a clean even Bhatia water, make sure you're not adding any water onto the house. So when you're closer to the bottom, you can leave it there. You don't need to take it till the horizon line. Alright, to bring this guy, I'm going to simulate on Crash does when a size number eight strong push by civil black followed brush. The color I'm using for the sky is blue. As I mentioned earlier, you can go with Amy Bloom. Thank God. It can be Prussian blue, cobalt blue, or in Hebrew, it doesn't really matter. We just need a light on a blue. They're applying it only onto the small area. Now have a look at the way I'm adding the glue. I'm going to add some taller trees on the left side and some shadow trees on the right side. I already have an idea how much I want my painting and also how tall my tree should be. So I have gone through that too. I added the color onto my sky. Now I'm switching to permanent roles. And I'm simply adding that onto a better background. You can switch to 1 million or two in between. And Keep adding those two private rooms onto your background. When you are closer to the sky, you can just leave it there so the colors will automatically spread into each other, creating a nice organic blend. There is no particular order of colors you need to follow here. If you feel like you need more pink and throw stones in your painting, you can add more of that. Or if you need more orange tone, you can switch to 1 million and add that. The only thing you need to keep in mind, the Start over the boredom. We need taco tombs and onto the top they need like two tunes. Now to make the top area Leto, tapping my pressure people travel and removing the excess amount of paint. And I'm smudging those colors into the sky. You can see my background is not too watery. Be discussed on the technique fiction. If your background is too watery, are the red and orange will float into your sky and you wouldn't get this kind of result. So if your background is still watery, they told it to try and be again, wait for a minute or half a minute depending on the humidity you have in your room. Ok. Now I'm switching to a darker tone. I'm missing a taco tone of rows. Simply adding a thin paint gray into my permanent rules to get a deeper tone right over to the bottom, onto that remaining area. I'm going to add this taco tomb. So you have a lighter tone from the top, medium tones over the middle, darker tones over the partner. You can see how beautifully that taco to spreading into that. So we have in the background, you can add a little onto the top as full. Now fill up that remaining media. To make this look more attractive, we need to add more deeper tones along the bottom. So once I have done added this, Apple be switching to a much more deeper tone. I will reduce the amount of rows and add more Payne's gray into I may show. Okay, it's time to go with more deeper tones. I'm adding more beans cree into that mixture. And I'm dropping that along the bottom. It's already dark tone that I'm using here. Focus on the area around the house and also the horizon line and add more taco tones over there. Every time we added taco tune about packet on to starting to look more courageous. And I hope you guys are liking the color combination and I hope you guys are enjoying the process through. I'm adding more taco terms over here. Now, a little more around the roof line and the damage will be done adding the tuple tones. Then we'll backfill district dry. Meanwhile, we paint the bottom part. Alright, diversity. Now let's paint the bottom. Spitting too warm Mullin. Start by adding rumbling along the horizon line, you can go into brighter and bold tool. To stab that Titan. You can see the darker tones be applied on the top is spreading into the woman Lynn. But that's okay. Don't worry about that. And apply a little more on this side. Alright, now we can switch to permanent yellow, orange and fill up the remaining using that color. So if we have a Liddy brightened, bold orange on the top, and as we're coming down, we have a light to turn off orange. Choose to combine those colors together and fill up the remaining. Now I'm switching back to woman Lynn and making the boredom ADR taco now to bond Sina and adding more taco tunes along the bottom. So the idea which is closer to the horizon line event in that the taco tone of orange. And over the middle, we switch to a fresh and light to turn off orange, which was permanently low orange. Now you can add more taco tones along the bottom. Now we're missing bonds. Sina have allowed few more lines. Depending on how dark you want your bottom to be, you can change the intensity of your problem. If you wanted a much more darker tone, you can add more gains. Green. Have a few more lines here. And now I will switch to a much more deeper tool and adding fuel lines along the bottom so that you have a nice transition from dark to light to dark. We have Doug ketones along the horizon line. Then along the middle we have some lighter tones and again onto the board and we have taco tombs. Alright, that's a little background. Now let's wait for that to dry. Meanwhile, let's pain that little house that is hardly thing left in white. So let's give it some color. Using sunlight to tone of blue. I'm doubting my version of paper towel. And I'm adding some try push patterns onto the walls. I'm using Taylor blue HIEO. You can use any blue that have God, it doesn't really matter. We just need some dry patterns using Amy lighter blue. Again, use Prussian blue, cobalt blue, Cerulean Blue, Amy blue. You have the on your palette. Just add some dry brush batons onto the walls. We need to see that white color of paper in the background. So make sure not to cover up the entire walls. Now, I'm switching to bond sinA, a lighter drawn upon Sina hygiene. And I'm going to create some try push baton to sing. Bernstein has food just to have that on top of the blue applied. So you have some blue and some brown and that people white in the background. This Brian deal will ultimately be looking very messy, but that's okay. I'll show you the mess I created. Look at this. It's really messy, right? But don't worry, we'll fix it. The beauty lies in the mess here. Okay, now I'm switching to permanent yellow, orange. Adding some try push button to send data through. Just a little. Now, I'm going to fill up the roof using this color. I wanted a bright orange roof. Kay, so this is where we have reached. Now let's wait for everything to dry. In the next section, we'll be adding more details until a tree. So I'm hoping to see you there.
19. PART 2: And that is background layer. Make sure everything has completely dried. Our next task is to our dry brush patterns on to those trees in the background to make them look more beautiful. Just like cargo did in the previous paintings. We have to go with the taco tool of the background cheat. So I'm starting with a taco dawn of permanent rules. If used car, mine or chromosome go with a darker drawn of those colors. One to have taken the paint on your brush tapping operation or paper towel. Simply scratch your brush on that background and create try push buttons at the same technique we used in the previous paintings. I hope you guys are quite confident with your drivers patron's now, because we did three paintings so far. And in all of them we have used the same technique. I've lived enough drivers patterns using permanent rows first, then I will switch to a woman, Lynn, and I will do the same. After that, I will switch to a taco tone. And I will again add some drivers patterns. I will be concentrating more on the bottom when I'm adding the taco tones. Ok. So go ahead and add in a form Trivers patron's onto your background. Don't forget to W oppression of people toggle so that you can create your tribe ish patron's quite easily. Okay. You can see how slowly about parallel redistricting so expressive as we added those fibers patterns. You shouldn't be adding some onto the outer area as well, so that the transition from the sky to your trees will be very natural. Now I'm switching to vermilion and I'm going to add few more, try push patterns using vermilion. And repeating the same process. I took paint on my brain and I tapped my pressure, people travel, remove the water and made my pain Try. And I'm adding these dry brush patterns. When you're adding dry brush patterns onto the outer shape of the tree, make sure your brush doesn't have any watery paint. Just to confirm, you can W pressure on a paper towel multiple times. Because if you paint us too watery when you're adding those patterns onto that power to shape the color of your dry brush patterns will be strong and that will stand out. And the transition won't be that smooth. Alright, we added dry brush pattern toSink permanent rules and we'll million. Now I'm switching to a taco tool and mixing permanent rules and Payne's gray to get diverted, talk to one of rules and onto the board of media. I'm going to add some tribe brush back to him to sing those depot tone. The technique is the same. It is just that I changed the color and I'm going to add them on to the button to make this ADI look very tense and thick. Once you have added in a fog dry brush pattern towards the bottom, you can add fuel onto the trace as flow. We want to see all those different forms of draws, an orange, and a background. I also don't try push buttons, the deducing rules sent orange. So make sure you're not adding a lot. Okay, I think I have added enough of Taco tones. That looks fine. Now I'm going to wash up the paint from my approach and I'm cleaned with a taco to announce war Mullin. And I'm adding through lines onto the roof. We'd be adding more details onto that later. Just few lines are enough on either side. Oh, now we can add a tree's. Once we are done item the tree is, we'll come back to that house and we add the remaining details. I'm going with the Payne's gray directly, dealing with the taco tone. And I'm going to add plenty of trees in the background. By trees, I mean just the stem man, some branches we already have added the foliage. You can add as many as you want. Some of them can be tall, some of them can be shot, and some of them can be Tucker and some of them can be Tino. Walk with all kind of company should know what you're adding the branches, as I mentioned in the previous painting, if you have a brash potassium pointed tip, that wouldn't be the best because we need some thin and delicate branches so as to get the proportion dried. Some of them can be bogged, oaky, so little of me go around and adding some stem and prune juice closer to the house may be identical with some border and thicker branches and stones. Onto this area on the right, I've uncovered some Tilly Kidsteam and branches. So that is what I have in my mind. It's totally up to you. You can add in as many as you want and you can walk with the kind of thickness you prefer. But keep the proportion and the sense of distance in your mind and add them accordingly. Okay, so we added all those ten and branches. Everything was looking so pretty right now, allowing the colour companies. Now onto the ADR. There we have the horizon line. I'm simply adding some crazy pattern so that we don't have a clear separation between the top and the bottom. This will make the transition look much more beautiful. Simply, I didn't symptom free hand line along this area. We don't need a lot, just a few to cover up that separation. If you don't add them, you will have a clean line separation between those darker tones on the lighter tombs. And bats will look little wheel that is a recent why we're adding these crazy pattern along the horizon line, okay, that is it now onto the roof with the same Plains Cree and with the same brush, I'm adding a taco line underneath the roof. Now some thin lines onto those rules. Again, you need to keep that distance in your mind. Lines shouldn't be twofold and tick, go with a very thin line. Now, another line underneath this room, flying. Wolbachia will house is starting to look better. Trust me, and by the time you finish, this is going to be one of the best houses who have painted in your life. No, I really mean it, I'm not kidding. Now using the same paint query, adding some dry brush patterns onto these walls. Just a little. You can barely see them. All these pixels are going to make your house look more realistic. You can use the same technique in your other paintings as well. You have a white wall and onto that we have some dry brush by two ohms using blue, orange, and windscreen. I added a line there. Now I'm making the line underneath the roof, put more Bordeaux. Now adding a line here and onto that top triangle OPAT, I'm adding some vertical lines. Now adding a long window here. If your bridge doesn't have a point, a tip, you will know what to do. I don't I kept repeating this, but I want you guys to have a beautiful Andreessen That is a recent VI I keep on saying this. I hope I'm not boring you. Now a door here. Okay, with that, we're done with our part two of this painting. Now in the next section we'll be adding the final details. I cannot wait to show you the finished painting. Either be waiting for you there.
20. PART 3: Welcome back guys. And this section will be adding the finer details onto the trees and when to be detailing out the part of mass foo. We'll be adding more leaves onto these trace here. For that too, will need a wide guage or, or whitewater color. I will be using a whiteboard, the glue, this oneness, titanium white, buy the same brand. I was mentioning audio at Xin Han, It's a Korean brand. Let me squeeze out underflow whitewater color on my palate. If you have a garage, you can use that. If we don't have Gosh, you're whitewater globe will also work perfectly. To add in the foliage, I need a big stood tall non-zeros. So I'm mixing some whitewater color into my permanent rules to get a baseline tool will be contributing on those ADR. We have taco tones and we'll be adding some leaves. You're seeing the space suit painting. To make your lives look opaque, you need to go and add thicker consistency. Okay, i have taken paint on my brush now. I'm adding some leaves onto the street. At some places. I've allowed those leaves on top of the stem Man, two branches. That way it will look more natural. Simply go with the copayment and take your brush and depressing moment and add these buttons. Now, along the border media we had added quite a lot of Dhaka tumors are, we'll be concentrating on these videos. And I will add more leaves over here. This way. All the leafs I'm adding MOOC stand out and they will be very prominent. You can see the way they are looking over here. Now, I will pick all those darker ADRs and I will add four leads vectors. You can play with different tones of pink ASCO. At some places you can go with an intense pink by reducing the amount of whitewater color. And at some places you can go with that place still painting by adding more whitewater glow. So play with different kind of color combinations and add as many leaves us you want. Don't go overboard and cover up the entire stem man trenches. We want to see them in the background. Okay. Okay. Look at that. It is looking so Guard just right. I hope you guys are enjoying it. Now. Alter the border media. I'm going to add some leaky pattern transfer so that it will look like there are some leaves fall on the ground. You can add a few patterns or what heal that the walls are touching the ground so that you won't have a sharp separation Hill. Okay. Now feel onto the ground. Simply take your brushing and proceed moment and keep on adding these patterns. It can be very random. Okay, I need to add feel wide stem and branches in the background. So let me finish that and we'll come back and I added more leaves onto the ground. So I'm switching to whitewater color here, and I am adding some more branches onto the background using white. This is optional. If you don't want to add white branches onto your background and candidates AS tip. I'm adding buddy futile and tiny ones. Which which, which, which, which which which is which. You can see I added buddies you buy to ground descends to him. And they already thin. And I didn't add a log like before. This is just to make your painting look more interesting. Ok, so that's the hat. Now, pack onto the crown. First over to the border, will attack them grassy pattern. And after that, we will add those colorful leaves on the ground, just like we did in our previous Orange painting. We'll add some freehand grassy lines along the bottom. I'm going with a tuple, tonal brow, and mixing and gray to get a tuple. And I'm adding some cross-cut baton along the bottom line. Which which, which which which which bring them mostly onto the right side pair I have those taco toners. I wouldn't be adding these lines using any other color like we did in the previous one, to some lines using those dark tone of Brown. Now I will add some are to the left side as full. Practicing these freehand lines as a good exercise to loosen up your hand muscles. To get the hang of it. You can practice it whenever you get some time. Just spend some five or ten minutes a day and practice these freehand lines. This will really help you in your other projects as well. Okay? That is, we have added the grass. Now the last task is to add some colorful leaves onto the crown. This is one of my favorite parts of this painting. I switched to add taco tone of Rose. And I'm simply adding some patterns on the ground. Just taking my pressure pressing movement and adding some small patterns, make sure your patterns are very small. If you add big ones, ignore, it will go out of proportion. So will you should be very careful about the proportion or keys. So those are the leaves using permanent roles. Now I'm switching to woman Lynn and adding some orange leaves onto the floor as foo. Just tweak a brush in a very quick mono and add these teeny tiny patterns. There are some broken lines. I'm not adults. There is no specific shape to it. It's a very random shape. Okay, we added those leaves using permanent ROS. And while Merlin, now I'm switching to that wasted ping tone we created earlier. I'm mixing white and permanent rules and in a very random manner, i'm going to add fuel leaves using this color as well. When you do this just like your background, you will have so many different tones of roles and orange in your full crown to, and this will automatically elevate the purity of your painting. So yeah, go around, use different colors and add an ask many leaves as you want onto the ground. My favorite color of four, this right, especially that red maple tree. It does when I pain something under Scala companies tonight. Really good philosophical people who get to NHI the fall season in Shell. Anyway, for now, I will satisfy myself by painting these heart on landscapes. Okay, with that, we're done with double red art and landscape. Now, let me remove the masking tape and look at this guy's looking at those textures. I'm really happy with the fine artist. I'm loving those textures and the colors we have in the background. I hope you guys had a great time feeding this tool. And I'm hoping to see you in the next section there, Google painting, ABL, final landscape.
21. Painting 5 - BROWN: And the leaves have started falling off around the last painting. From green to yellow to orange tend to rate. And finally we have reached Brown. Let's quickly have a look at the colors. And without wasting any time, let's targetable painting for the sky, just like the previous painting I'm using to look blue. Now, as I mentioned earlier, you can use any blue that have caught. So that's blue. Now for the mountain, I will be using integral. I will be using the light to turn off integral to adding all those shadows on the mountain. The white people, white. I won't be adding any light-colored onto the mountain. And to Adam, the taco tunes, I will be using paints green, green screen is one of the major color and this painting to add the details on the mountain over hill. And for the road asks for that we're gonna be using a lighter tone of integrate. If you don't have Ben's grey, it's okay, you can use your black. Just like our third painting where we focused on orange for this painting asked for will be working with a very limited color palette. Okay, so that is been screen. Now, the next two colors you will need as bonds, Sina and warbling. I think that is quite clear from the picture. For the mountain in the background and also for that landscape in the foreground, we will be using bonds sing up along with been tonight just to make it a little interesting, we'll be using a little love warmly and Asper. So you have some orange tones in between. So those are the four main colors you would need for this painting. Along with that, you will also need whitewash or whitewater Googler. This is for the mocking lines on the road and also to add some free headlines on the landscape. Okay, so grab all the colors. I'm guessing these colors are already there on your palette. This will be a quick one, and I'm hoping you will enjoy it.
22. PART 1: I have to burn my people already on two alleles. Now let's add a pencils kitsch will just need to add a mountain in the background, which is going to be our snowy mountain. And then we need to add a pathway in the middle compared to the previous painting for this firm will have to put a little more effort for the Panthers kit. We'll start by adding the mountain. That's the first one to know are the lead, another one right over a hill. Now we can add irregular lines onto the surface of the mountain so that it will be easier for us to add the taco tunes and shadows. We'll be focusing on these lines and adding the Shadows along these lines. So it is going to be really helpful than me. Paint will be just running our brush following these lines. Now will be going at a very light went off integral for this shadow. So it is better to go in with a very light Venter's sketch so that those lines won't be visible once you add in the color. Now let's add a road in the middle. It's going to be like a curvy road which is leading to a far off place, so the other end won't be visible. It will be somewhere hidden between these mountain. Make sure the width of the road as thin as it is far away from you and as it is approaching towards the bottom, it has to be a writer that til you get to a proportion and sense of distance in your painting. So that's one side. Now in a similar manner, I will be adding a Kobe Line on the other side. Starting off with the far end, you can see the spacing between the road as thin. Now as I'm coming towards the bottom, as it oldest approaching towards you, it should be more wider. Now when you're adding these curvy line, it should be similar to the one you added on the other end. It shouldn't be different. I'm taking my line in a choline Mano, damn ticking it towards the bottom. And Sam reaching the bottom, I'm making my rod more wider. I have added the road and that we are done with the Apple pencil sketch. Will then we are adding the paint will be having a line in the middle of that road markings. You don't need to add it right now. I just showed you how it will look like. You just need to take the center of the width of the road and are those white lines? Okay, let's start by painting the sky for this guy, I'm not going with the bedroom vet sky This time. I'm simply adding a light two turns blue and filling up the entire sky in that color. I'm using Pedro blue. I'm going with the light to turn off the low blue. I know I mentioned this earlier. It was just because I had some blue on my palette. I'm using theta o. Boom. You can use any other blew. It could be pristine, glucose apart, glue, certainly in blue. Are any blue? This is the one I'm using q. This one is from the brand Rembrandt, that's cloud data blue rate. We just need a lighter tone of blue and simply fill up the sky using that color. So I just applied an even worship light blue. If you want, you can add some cloud or if you want to go with the creating boils at a store really up to you. So that's my sky. Now and explain the snowy mountain. I'm going to Washington plane from my brush for the mountain will be using dry bridge technique, I guess by now you all are experts in dry brush technique. Take out your paper towel and I'm using my size number four ramp rush. I'm going with a light tone of integral. Remember those lines we added on the mountain. I will first step is to add a light line of integral. Along those lines. You don't need to add a lot, simply follow the lines who have had. So you just need to add some random shapes. It can be some lines and it can be some patterns. It doesn't need to be a perfect cheap, and we don't need to fill up that entire area in that light tone. You can see the way I'm adding it here, simply following that line, say added. And I'm simply pressing my brush on the people and creating optical patterns and some random lines. Now on to the other side and following that line, adding some thicker and thinner lines. Ok. So I have followed all those lines we have added. Now I'm switching to dry brush technique. And I'm smudging those patterns into the background so that those lines are not very prominent. To smudge the colors, I'm using dry brush technique. Now, I've allowed more triplet patterns using a lighter tone of integral so that our mountain will look more snowy. If you don't have that, it's absolutely okay. You can use any other blue ascii or using a lighter tone of blue. It doesn't really matter here. So once you have taken, painted them fresh tabular persona people trowel and promote the excess amount of water. Then simply scratch your pressure on the surface of the mountain and create try push patterns. Okay. That is how upon mountainous looking right now, now onto the bottom area of the Mountain, the same mountain. I'm going to add a darker dawn of integral. I will just follow the other mountain we have in the foreground. I would follow that outline and I will simply add a darker tone, will heal. But it's not a very doctor. It's kind of a medium tone of integral, which will be the blue you used for the mountain, you can use the same Blue Hill if you don't have integral. Now don't worry, the Scala won't be that visible once we add the foreground mountain. This is just to get that transition right. So add a column over the bottom like this. Then again, bush or the pain from your brush and using some dry brush patterns, much starch into the background. At this point, your mountain might be looking a little messy, but don't worry about that. Now w pressure on people to alone and remove the wet paint from your branch. Now simply scratch your drive fresh on the surface of the mountain and create some tribal SHE patterns. You think the stock go tone of integral. We'll be adding dry brush patterns using a taco tone onto these fantastical. First, let me SmartThings darker tones into the background so that they are not very prominent. Okay. Now I'm adding some taco tons of integral onto the monitoring the background. Just to feel dry brush patterns. You don't need to add a lot the paper why it should be the more prominent colour. Otherwise it won't look snowy. Okay, now let's go to Taco ton of integral and add some more dry brush batons, loaded brush with a Dakota tabular pressure on a paper towel. Now I'll go around and add in some more taco tones. After this, I will be repeating the same book paints classical. You can add them along the lines we added. So follow those lines and axial patterns along those line. When you play with different doors, which will add a lot of character to a mountain. There will be a lot more textual and it will make it look more beautiful. Now I'm switching to print screen and adding the last round of drivers pattern to think paints query, right, that my version of paper towel. Now again, I'm following those lines and I'm adding some try push buttons. And, but that will be done with double mountain. So in this painting, the most important and the most time-consuming thing as The Mountain. The rest is going to be pretty quick and easy. There is no much details from this painting. It is all going to be overtone whitewash and adding some details under the vet background. Now I'm adding more taco tombs over the bottom there. I have added that taco dawn of integral. This a11 b, clearly visible once we add the foreground mountain. But to, just to get that transition right, we need to add Docker buttons over here. So you have a super snowy mountain, the background, and a little darker mountain in the foreground. Now to the mountain the foreground, I'm going to apply a light wash of print screen. This will clearly show the transition and also it will elevate the beauty of your snowy mountain, the background. So go to very light tone of Payne's gray and simply apply that onto the mountain in the foreground. You can see I'm dealing with a very light tone of gray. Beware agenda that the oppression moment, make sure you're not disturbing the drivers patterns we applied. Now similarly, I'm going to add a lighter tone onto this batch on the left. Now you can see here, I didn't concentrate a lot on the bottom media. I have lifted passages. We have some strong paths over there, but that's okay. We'll be covering up all these beautiful for Chronic Mountain. So don't worry about that. And with that, we're done with double mountains. In the next section we'll be playing with bone Sina and beam screen, and we'll bring that autumn character to a painting.
23. PART 2: Okay, welcome back, guys. Now it's time to bring in the autumn colors. I'm switching to bonds. Singer, let me squeeze out a little of bonds in on my palate. Now the two main colors you will meet in this section as paints GREE and gone Sina. First, i'm going with a lighter tone of paint screen. And I'm going to call up the enter your bottom Ada. And this color, simply Philip and even Marshall's windscreen. Start with the ADR closer to your integral mountain. For now, you just need to simply fill that up. We'll be adding more videos onto this later. So ideal Payne's gray along this line. And then with a similar color, fill up the end day of border media. Now you have a light on of Payne's gray in your background. Your background is wet. It does this time you should introduce bonds in our, into your background. As your bag alone is bet the Payne's gray and bonds you know, you are applying now little blend and spread into each other, creating a very natural blend. Start with the EDR closer to the mountain and simply add some teeny tiny lines on the top which will represent the tree. Now this is why I told you it is okay if your mountain searching messy, we didn't really put any effort on the bottom media of the snowy mountain. Now you can barely see it. That's a recent why I told you you can leave it Tacitus. Now the brown mountains taking over and it is covering up all that background colors. So no matter whether you had a strong patch over there or whether you have a clean blend. Nothing really matters here. Now, I'm doing the same onto the left side. All you need to do is simply add some lines close to each other. Some of them can be shorter, some of them can be taller. So the tall light will represent our trees and the shorter ones will represent shot or trees. Once you have added those lines along the top line of your mountain, you can bring the bonds in our town, but make sure you're not adding any color onto the road. You can add brown colour following that Kobe Line of your road. Now for this painting, I went in with a more of an abstract concept. That's why I didn't wait for the background to try. If you want everything to look very crisp and clear, you can beat for the background to dry before you add your brown tones. So for the right side, I followed the curvy line of the road and I added one Sina. Now I'm gonna do the same for the left side. First sketching out that curvy line. Then onto that Ada on the talk, I'm going to fill up on Sina. Now into this background will be introducing more Payne's gray as your background, his bed. It is the best time to play in the different tones of bonds, Sina and pains query. So that again, bringing more textural, some more expression to your painting. We're going to be introducing more taco tones along the curvy line up the rule so that I will create order automatically stand out. And also they'd be adding more taco dorms along the top where we have those abstract trees. Okay, I'm switching to Payne's gray. And I'm starting with the top area. Onto that too wet brown layer. I will simply drop in some taco tones. I'm using my size and before Round approach. You can keep switching from Paine's green to brown and keep on adding different kinds of tones in your background. Our idea is to create a background which has lot of textures of different tones of things, green and brown. And also to have some abstract trees. So you can add these kind of lines with some spacing in between so that it looks like there are so many trees on these mountains. After this, we'll be adding darker tones along the curvy line of the road. So at some places you can go with things green and at some places you can go with bonds Sina, and maybe you get a glazed with their intensity as well. Some places it can be avoided doctrinal bonds, Sina, and some places it can be a lighter tone so that you will have all kinds of colors and texture and your background. Now, I'm going to add the same taco tools along the shape of the road. They don't need to add any other details onto the road just by making the outer area taco, the shape of the robot gets elevated automatically. So simply take your brush along the shape of the road and dropping these taco tones. As you add the taco dawns, you can also clean the shape of the road. Once you have added Dhaka tunes along the outline, you can drop in some darker tones on the landscape Haskell, it can be some random lines on it can be some random shapes. What you're adding doesn't really matter. We just need to get different tones and textual or Washoe. Okay, the right side looks fine. Now let's do the same until next side asphalt. We'll add the taco doors along the line of the road. And after that, we'll drop in some docker tunes onto that landscape portion as whole. Right, we made the road prominent by adding Dakota ions around it. Will need to add some more texture on it onto this mountain to it'll be adding dry brush patterns using 1 million. But for that, we'll have to wait for this to dry lean line. Let's switch to print screen. And we'll add some trees in the background, just some abstract shapes. And going with the taco dawn of pain screen. And I'm simply adding some lines. Some lines are long cause some lines are shorter. This will make it look like directories far away. You don't need to add them to our own dark brown color auto and good background. So at some places you will have some brains create trace, and some places you have some bonds in our trees which were really represent all those fall colors. So go in a very random manner and simply add these lines. Now over here you can add some stucco lines. I will be adding these lines only onto this far end. You can see the lines on adding cure. They are spreading into the background. They are not a very perfect and clear shape. You need to add them only OCO over to the bottom, we'll be adding some graphs so you don't need to add these lines. Okay, and that's a little background. Now let's wait for everything to dry. Everything has perfectly dried. Now let's add some dry brush. Patton's onto this using 1 million. You can use any kind of orange you have got nodal pressure at 1 million are scarlet or any other orange. Then W brush on of people together. Fragile the excess amount of water for milk paint. Now scratch your brush on the background and create the striped pattern, tilting orange. And an asthma jazz dry brush pattern says you're born handle your satisfied. Now in the next section, we will be adding some grass over the boardroom and also the road markings. That is the only two things left. Okay. I'll see you there.
24. PART 3: Welcome back, friends. Welcome back to the last section of a one last painting. As I mentioned at the ending of the previous section. In this video, we are going to add some grass over the bottom. First, i'm going with a based on turn-off orange and mixing some white watercolor, but a little of orange to get that distill to insert a whitewater glow, you can also use white guage. Both of them will work perfectly. This is the same technique we used in a more orange painting. We are going to create a basal orange. And we are going to add some freehand lines over the bottom just to make it look like there are some grass over here. I'm so happy that there are the finishing stage before class, and I'm super excited to see your beautiful Class Predicts while you're posting them. I would also love to know which one is your favorite one from the file. Is that the yellow is at Orange. Is it green as a tread or is it this one? I would love to know that minus a red one. As I said earlier. For some reason, those red and orange completion is killing me that Beaufort autumn wives. Now, all the buildings we did in this class can be done in any other color composition. The same one we are doing here. Instead of brown, You can go with more of the yellow and orange. Or we can go with the yellow and green company shouldn't just like the first one. So try and play with different kind of color combinations. You don't need to stick to the same colors I'm using CIO. When you play with new color completions, you will automatically discovered quite a lot of things and it will help you improve your skills. So pick one painting from the five and try it with a different kind of color companies should. I would love to think that too. If you're trying it out and if you're posting that on to Instagram, do shattered with me. Okay, now let me call around an atom these classic patterns using our baseline graph RH, which. Okay, I added enough African lions, you've seen that whitish orange. Now I'm going to switch to a taco tone of Brown, and I'm gonna do the same. I will add more freehand lines so that we have what Dan San thicker looking bottom. So contiguity of the area which is more closer to you, learners decide which I'm doing right now. Similarly, you can add more free hotline to single taco tool on the left side two. And after that you can take your classic pattern along that curvy line of the road. One to add in those graphs three Pacto along the Kobe Line. After all, it will again make you wrote more prominent. And that's done. Now the last and the final step is to add the road markings. So to add that I'm using my whitewater color. You can either use a white Shelton or you're quite quash. If you're using whitewater color or white quasi would need a fresh which has appointed to. Otherwise your road markings will be very important. Tick. Now roughly imagine the center of the road and add a dashed line. Then you're on the other end of the roll, your lines can be shot. And when you're approaching the area closer to though masking tape, long and a little more bolded underlined in the background. And therefore you have a tone and a road. You need to take that tone in the Alliance as well, just like I'm doing it right now. So at this point my rotors turning. And to have one more term there also, I will make my road markings and a Colvin Mano. So let me quickly finish this. Mm-hm. We have a last ten, you get left, and that will be done. The final painting. Ok, my dear friends, and they have successfully finished file or them landscapes incorporating the autumn colors from nature. Like me remotely masking tape and show you the finished painting. And here are several finished painting. I really love this colour companies. And also that showed us really looking like it was going to a very far off place. And also I love the contrast between the brown Mountain and the stony mountains. I'm really happy for this fun. I hope you guys are happy too.
25. Turning your paintings into postcards: So here's one of our finished painting. As you may have noticed, I got rid of these white edges and I made it look like a postcard. Now I'm going to show you how I did that. It's quite simple. But at least some of you may wonder with her, I am using a special paper. It's not especially people are a postcard. I just cut the foresight to meet these rounded edges. So take out your scissors and get rid off all those white sites. Just cut them off. Now this is totally optional if you would like to have your painting with those white bands on the four sides, you can leave it acids. You don't need to cut them off. For some reason. I love with this flow. And I am going to send this to my friend says postcards. So that is the reason why I chose to Bartlett off those white Bordeaux. That's the first side. Now let's cut the other side. To be honest, for my first painting, I didn't get cleaned for sides. So that is the main reason why I thought of doing this. But then when I did a food, my first painting, I kind of loved it. So I thought, why not? I'll do it for all of them. We have to move now on to the last site. So we got rid of the border. We have our painting here. Now what I'm going to, I'm going to make the rounded edges. So take your scissors and a Coby manner and cut off all the corners. You will be getting a piece like this we need to adapt. Now let's do this for all the four sides and kept it off all the shop corners and make them all rounded. And there you go. We made all the sharp corners and two rounded corners. Now, grab an envelope and send it to your loved ones.
Zaneena Nabeel, Top Teacher | Artist
