Autumn Pathway: Paint a Misty Watercolor Landscape with a Limited Palette

1. Introduction: Autumn is a beautiful season, a time when nature slows down and paints the world with warm golden hues. The fallen leaves, the misty mornings, and the soft glow of sunlight create such a peaceful atmosphere. Hi, I'm Soma Karthik, a passionate artist, and a mom, and welcome to my class Autumn Pathway, paint a misty waterglo landscape with a limited palette. In this class, we'll be painting a calm beauty using gentle watercolor strokes. Using a limited palette, we'll paint a beautiful, peaceful Autumn Pathway, surrounded by soft misty mountain warm tone of autumn foliage and few free flying birds, which is perfect for beginners who want to explore seasonal landscape. So by the end of this class, you'll see how much magic you can create with a limited palette and few easy techniques. So take a deep breath, relax, and let's paint this autumn beauty together one stroke at a time. See you next section. 2. Class Materials: Hi, guys. Welcome back. Thank you so much for joining me in this class. In this section, we'll talk about the materials we'll be using for our class project Autumn Pathway, paint a misty watercolor landscape with a limited color palette. This is a class project. We'll be using only these four colors. First, I'll talk about the paper. I'm going to use 100% cotton paper that is 300 JSM 140 LB and this is fabriano, 100% cotton paper. You can see the size. It's A 57 by five size, and 300 GSM and 140 LB and you can use either the loose sheets or you can use blocks like this. This is arches watercolor paper. This is also the same 300 GSM, 140 LB. You can paint in this and after you finish the painting, you can take it out with a palette knife. So you can use 100% cotton paper because that is the most important thing in watercolors. You had to have 100% cotton paper that gives a better and great result. If you have cellulose paper, that's okay, but you had to upgrade after a few tries to get a better result or at least you can use 25% cotton paper. That's my suggestion. Next, I'll talk about the colors we'll be using for this class. We'll be using Pyrrol Scarlet. And cadmium mellow orange, Burnt Sienna and ultramarine Deep. These three are from PWC and this one is from QR brand. All these are warm warm colors. These are all only four colors we're using. I swatch colors. This is cadmium, this is scarlet. This is Burnt Sienna and this is ultramarine Deep. I got the other colors by mixing these colors. Next, we'll talk about the brushes. So I'm going to use this flat brush. This is from then Nut supplies. It's a three by four inch flat brush, and next, I'll be using this round brush from Graham BacherT is size six. These are the two brushes we'll be using for the entire class. Even for the technique section, we'll be using only these two brushes, and you need a pencil and eraser to mark the horizon line, and it's not needed to draw your trees because we are going to directly paint. If you're not comfortable, you can draw it for your reference and you need two jars of water, one to wipe off your primes and wet the paper at the beginning. You need a tissue paper to wipe off your paints or you can use a cotton cloth, whichever works for you. I'm going to use this plastic palette for my technique section and also the class project because I need a bigger palette so that I don't want to run off for paints when I paint in between. You'll also need a masking tape to keep your edges clean, and I'll be using this glass board to tape my watercolor paper during a class project and also during our technique section. Grab your supplies and let's get started. 3. Color Swatches: Hi, guys, welcome back. In this section, we'll swatch the colors that we are going to use for our class project. Here I'll spot the colors we're going to use in a glass and here the substitute colors so that you can see the paints we have with you and then go practice it and paint a class project. Let's watch. First, I'm going to swatch Cadmium Yellow Orange. This is a warm orange. So this is a warm orange autumn orange. This will be beautiful for painting skies and autumn trees. So I'll mix a little bit of water. As watercolor lights very light. After you paint, you should always paint it darker so that after you finish your project, you don't want to think, you should have used a better, darker color. Next, for this one, you can substitute it with Daniel Smith Gamboge or you can use Indian Yellow too if you have it. These are the substutes I'm going to watch Daniel Smith new Gamboge. Straight from the tube. So this is the color closer to it. See? These are all warm colors. So you don't need any cool palette in your palette. So this is cadmium. This is substitute for cadmium me orange Gampog. Next, I'll watch spiral scarlet. This is a fiery bright red. That is perfect for our autumn palate, especially the foiage. You can substitute with cadmium red or vermilion, if you have it. It's a dark warm color, guys. Next, I think, this is cadmium red or you can use vermilion. This I have pants, you can use the tube pans, whatever works for you. Next, I'll watch ultramarine deep. This is a common color. This is a warm blue and you'll have in all the basic watercolor set, artists grade and even students grade sets. I request you to use artist grade set because that will be more pigmented, vibrant, and it'll look very pleasing to your eyes too when you paint. For this, you can substitute with Coval blue. I'll first watch the vermilion I was telling about. Instead of spiral scarlet, you can use vermilion. See? It's a closer one. And next, I'll watch the cobalt blue for you guys. So this is cobalt blue. This is also a warm color that is close to ultramelin. If we have cobol blue, you can use it instead of ultra mealin, but this is a granulating color. Cobalt blue is not a granulating one. So that's the next color. Next, finally, I'll watch Burnt Sienna. So this is a warm, earthy color. Perfect for painting branches. And and also for painting shadows too, this ultramarin can see, it's perfect for painting sky guys. This is the swatch of the Benciana. For this, you can mix all the three primaries. I'm going to mix all these colors and get a brown, these two, and a little bit of ultramarine to get a brown. See, I mixed all these colors, and I got this one closer to bunsena. You don't want to buy too many colors. Warm primaries will be enough. In this gas we'll be only using again warm colors. And also for getting this orange, we'll mix cadmel orange and Pyrrol Scarlet to get this orange. I'll watch and show you. Make sure your pigments are very dark, see, you can get this orange. And you can mix Pyrrol Scarlet and new gambooch to get this orange if you don't have the subdued colors to get this dark yellow color, you can mix burn sienna and a little bit of red to get yellow ochre color. I'm going to mix born sienna and a little bit of red Burnt Sienna and a little bit of red and a little bit of orange to get yellow ochre color. Oh see for the pathway, we'll be using for the pathway, we'll be using this lolocre color. That's a mix of scarlet, Bnciana and a little bit of camiumOange. And finally, to get this burn tumba color, we'll be using these two colors ultramdn and Bnciana. You can mix more blue to get a black color to paint the birds and you can mix more Bnciana to get this dark burn temple color, which is also closer to sepia to paint the branches and the final details. For the birds, you can mix more ultramarin with the burn Siena to get a dark black color for painting her birds. Those are the color, guys, grab your supplies and let's get started. 4. Techniques Part 1: Guys, welcome back. In this section, we'll practice the techniques we are going to practice for class project. First, we'll paint this misty mountain and then we'll practice the grassland and finally, we'll be practicing the foilage. You can try both wet-on-wet technique and wet on dry technique. That's your choice. We'll practice this. First, the sky and the mountains, then the grassland and pathway, then the trees for the foliage, the main hero of project for our Autumn project. We'll practice this. Make sure you get your Paints ready before you start so that you don't run out of paints in the middle of your painting or practice. Make sure you keep your supplies ready, especially the paints and the brushes. Let's start. For the mountains, we'll be using wet-on-wet technique. I'm applying an even coat of water for my sky, not a puddle, even layer of water, so that your clouds will not run out and your sky looks soft and beautiful. Apply an even coat of water first for your sky. I'll show you first. Apply C. There's a little shrine in your paper. That's how you can also apply fully or if you want hard edges, you can apply randomly your water. So first, I'll take my round brush and I'm going to apply the sky. I'm going to use wet-on-wet techniques that applying wet paint on a wet surface. So random wispy strokes to get a soft edge. There's no thin tool to paint your sky, some wispy strokes. Make sure you have even at of water before you start your sky. Or if you want hard edges, that looks natural, that's a good option. But I think today, I'm painting with both hard and soft edges. First, small wispy strokes for your sky. For this, I've mixed ultramarine and a little bit of sana, to get this dark gog shade, actually, Mia Modi Buffet. So that's it, I stop with this. It it dry. Next I'm going to paint a mountains. So I just draw a rough off of the mountains. So I start with ultravgonbG over the shape I drew the mountains. My pie has dried a little bit, not for me. I just started mixture. There's a soft tech. So so I just painted over the mountains. Now I'm going to wash my brush brush, and then I'm going to soften the edges here to get a misty effect. That's it. I'm just washing my brush and cleaning the edges to get a soft edge effect for our background for the mountains. So I'm using this is wet on dry. I'm using paint. See, you can see some lifuic that's okay. I'm okay with it. So make sure you apply paint evenly before wetting your paper to soften the edges. So I'm adding more paints to make it look natural. So that's it. A mountain is ready. We are going to paint the grassland till it gets dry. The mountain gets dry. So I'm applying an even coat of water to the pathway. I just drawn rough catch to practice. I'm applying even coat of water on the edge sides, both right and left side. So I'm applying even coat of water. Remember that? No hard edges. Otherwise, your paint will get dry and your effect will not be good. Make sure you apply even coat of water on both sides, not a puddle. I just apply it next. I'm going to take my lighter color because this will be the horizon lay near the mountain. I want a lighter color over there. I start with Cadmium orange for my base layer of this grassland, I mean. First, I start with Cadmium Mel orange. I'm just applying the pins or the wet surface. This is on technique two. Next I'm going to this is a mix of these two, scarlet pile scarlet and cadmium low. I'm just applying that, see a little bit more water, I think. That's why it's spreading a lot. That's okay. Happy accidents. So next I'm taking a little bit of burnt sienna and applying it here. See? That's okay. Unless you apply it or blend it together, your results won't look messy. I'm going to apply Burnt Sienna towards towards the bottom, actually, near us. So I'm going to take even more Burnt Sienna because the pathway, as it gets nearer to us, the details will be dark and even more highlighted. So I want to apply more paints, born Sienna here or here, I'll wash a little bit and apply this orange here and a little bit of red too if you want. So it's a autumn landscape. I want to keep all the warm colors and make a beautiful blend of the grassland and look it more vibrant and pleasing to your eyes. So I applied I think I need to shape the Pathway. So my paints cut over here. That's okay. I'm using my wet brush, wet damp brush. Take the paint over and wipe it off. See? It's okay. Anyway, we are going to add a color like yellow ochre. F there. I think here the surface is dried. I'm wetting my surface again. Not a puddle, even layer of water. Next, I'll apply the same colors before we applied here. First, cadmium orange. Before we paint the pathway, this layer had to be dry. Otherwise, the paints may spread. I think my paints are spreading here. It's okay. Just take the ces and damp it in a paper, wipe it off. I'm going to apply cadmium yellow orange first towards the horizon. Next, a dark orange. And then a little bit red and burn Sienna. So apply an even layer of paints too so that it won't spread much. Your pathway should be look beautiful and also pleasing to your eyes. Grassland should be good. Make sure you apply even coat of paints all through the gas line. So make sure you blend it properly after applying the pins to the grassland. So I think the paint has spread again, so I'm going to wipe it off, take a dam brush, clean the pathway. Pet your brush, damp. Make sure you take the excess water from your brush, and then using a damp brush, clean it. See? As you are using 100 presen cotton paper, you can see the white of the paper again. If it's a elisse paper or any other paper that has less GSM, you'll not get this. You can't take this out. The paints if it's spread, then you can't take it out. So I'm going to blend it even more to make sure the layers are clean and neat. So see here, I apply darker color towards the end of the pathway, which is near us and a lighter color near the horizon because when you see the perspective, as the objects go far away from us, the details get lesser, the colors are a little bit light. When we get nearer, the colors are dark. That's the concept I'm going to say. Finally, we are going to paint the pathway, so a lighter version. Of the pathway. I'm taking lighter version of yellow ocher, which is a mix of cadmium mellow and burn Sienna. I'm using wet on dry. You can also use wet-on-wet method if you want. Either worn works. I'm applying I'm using started with a Btonry method. I think as the layers are wet on both sides, getting in, so I'm going to do wet-on-wet technique. First, I apply even quarter for the pathway. Next, this one mix. As you can see, this is ultramdn and this is ochre, mix of burn Canon camium. So the sun is coming from this side. The rays are coming from this side. This side will be darker and this side will be lighter. I'm going to take the loca mix and our details here. You can see small lines because wet-on-wet technique layer gets soft edges, that's what we need today. I'm just applying small lines towards the end of the pathway on the right side. Make sure paints are thick, not very watery, so that the paint stays in the paper and gives a desired effect. So just soft lines and you can even apply water from here, this side to make it blend evenly and give soft edges. That's simple your bottom pathway because you just used all the warm colors to create the scene. So practice these two. And finally, we need to add the birds. So I'm going to use a mix of burn sianon and ultramarin to get a rich black. This black or bon timber colour to paint the birds. So make sure your lace is completely dry. Otherwise, you can smudge with your hand. You can check with your fingers if the ray is dry. Yes, all the layers are dry. But this layer is not dry, so make sure you paint it carefully. So we are going to paint these birds, simple birds like we shade birds towards the sky. So O line, a head, and another stroke. It's that simple. So make sure you practice or you can draw like a child to see a curve and another curve. You can add detail if you need to like a head. I added here and one more here. So make sure you practice this. Next, we'll also practice the tree foliage using wet-on-wet and wet on dry method before we start a cluster project. I'll be easy for you if you practice this. Let's 5. Techniques Part 2: Hi, guys. Welcome back. In this section, we'll start to paint our three foilages that we're going to add in our class project. So I'll teach you two techniques, both wet on dry and wet-on-wet technique. Wet-on-wet is nothing but painting on a dry surface using a wet paint, and wet-on-wet is nothing but painting on a wet surface with a wet paint, and it gives this beautiful blends. It's your choice. You can use this technique or this technique to pray in the class project, the three foolage after you practice this, so let's start. So I'm going to use the same. You can also use a pencil to sketch your trees or you can go directly with the tree foliages with the pane directly. You can use a circle shape a rough sketch. But I'm going to draw it directly for the wet on dry for the wet-on-wet. For your guidance, I have drawn a small circle, need not be perfect. So I'm going to use my same gram patcher, size number six round brush to start painting the foliage. I'm going to apply wet water all over my watercolor paper. Make sure you use practice good watercolor paper, 100% or 25% cotton paper because once you practice in cheap paper, you can't get the same result value paint a class project, make sure you remember that. I'm just dabbing the water on the paper, making it wet, making it damp, actually, not too damp. Make sure you lose some white spaces to add the trunks, three branches, I mean. So now let's go with the paint. I'm going to take the light color first. So first, because my light source is from this side, left side. So here on the right side, it'll be dark. On the left side, it'll be light. I'm going to start on the top side of the tree. You can go with any tree shape. This is just for your guidance. You can go with any tree shape. Make sure your paint is thick. Otherwise, dab it in a paper before you put it on the paper so that it doesn't spread too much. See? Just going over the wet paint again. Next, I'm going to take the mix of these two cadmium melow and scarlet to get a darker orange. I'm going to blend. See, I think it's too wet, so I'm going to take the water out of my brush and then take a thick constituency of paint, dab the excess paint from the brush. Excess water, I mean, then just dab it. Don't worry if it bleeds too much. It creates beautiful texture after it gets dry. Make sure you have a thick consistency of paint and less water. So the dissllin spread. So see I'm going over the tree shape. I'm not going do that because I want to make sure it is in a tree shape and looks organic. You can go with lead tree shapes, anything mixed with the born Sienna mix, the dark locre and red mix, I'm going to add I think I won bon sienna. I think it's too brown, so I'm going to wash it, take a consistency of a little more red, and then because we need all the beautiful autumn colors yellow, orange, brown, red, even green is okay, but this is a different autumn tree. What we're painting is a different autumn tree. So we're using only warm colors. Next, I'm going to take Burnt Sienna. Then finally, dab it off. Wet paint on a wet surface. If you don't like your blending, then you can take it off with the lifting technique and blend it. If you don't like the shapes, you can alter it when it's still wet so that when it gets dry, it looks good. So I think I'll stop with that. Let's wait. Let's go to the branches. I'm going to take a thicker consistency of ultramarine and burnt sienna. And then start with the tree trunk. Make sure you take the excess water from your brush. You should have more faint and less water. This one, I'm going to use the tree trunk, I'm using only wet on dry technique, starting for the branches. Then as the sun comes from the lip side, I'm going to make it warmer, so I'm going to blend the layer like this. Make sure your tree shape looks good and organic. It doesn't look out of proportion. So I'm adjusting my tree trunk. Next, I'm going to even take a darker consistency and put it on the right side because to give shadow of the trees and also you can use the same darker mix for the trees too like this while it's still wet. You can take the orange and yellow mix. And blend it like this. So it gives a beautiful texture, guys. Make sure you do it while the layers are still wet to get a beautiful effect. You don't want to have the same outcome like me. Try practicing and you'll be like to paint a tree. It's just simple. Just practice it before you start your class project so that you'll be confident. See? Next, I'm going to blend the layers below the trees, the same orange red and Burnt Sienna mix, like this. Then drop in the colors of the autumn leaves, all the colors. Then make sure I make it darker on the right side. See, I think I added more ultramn so it gives me a rich black color. I'm going to blend it with Ponsiena you can add even more while it's still wet, you can add it blends beautifully. Then also, you can add the tee trunk with the same brush. So make sure I dampen my brush and add my tree trunks while it's still wet because this one we are painting wet-on-wet. So all the tree trunks, I left white spaces. For these tree branches to be added. So make sure your layer is still wet while you do this step. I think I'll add even more layer here. I want to add a different foliage, a little more foliage to make the tree bigger, little bigger. So I'll add the colors which we used. This is a better on re technique, guys. That's okay. I think I'll wait and then add the final layer for the tree trunk. Let me try not bleed, make sure it not bleed it looks it's a light colour on the left side, make sure you add a light colour on the left side. Don't darken it. Just a few two branches peaking out. I think it look good. Finally, I'll blend this layer to get a smooth edge, and also you can add some grasses, glass plates. For a few details like this, or you can just leave it. That's your choice. I'll start with that. Next, let's practice the ton technique. 6. Techniques Part 3: Next, we are going to try the wet on dry techniques. I'm not going to apply water. I'm just going to take my paints. As my light source is from the red side again, I know sketch cues so I'm going to do it directly. A dry paper and wet paint. I'm starting with a lighter color. If you're not sure, you can draw a circle and then start your trees because wet on dry technique gives a sharp crisp patches to your trees and foliage. Whereas in dry technique, you get a smooth blend like this as it blends together, the layers blends together. I started with a light color. I'll show it even more closer for you. I started with a lighter color. Next, it's a mix of red and yellow. I think it's mixed with a little brown, so it's okay. I'll start with the red, just dabbing it. Nothing fancy. So you can also apply it on the layer before. Make sure your shape looks organic and nice. Next, I'm going to take the burn Sienna mix after the red one is done. Next, I'm going to take the burn Sienna mix directly with a mix of red. This is a sharp pointed brush, so it's easy for me to dab. If you use a bigger smaller brush, it'll take time. Make sure you use a round be that has pointed tip and also you can make these foilages which is pretty easy for you guys, you don't want to keep changing your brushes. Next, I'm going to take Burnt Sienna directly. Make sure you leave some gaps in between the fooliages so that we can add the tree tunks finally. For this, I'll add it after this one is done because it's okay wet on dry. We can also because wet-on-wet will bleed. I don't want to add the tree tunk in wet-on-wet technique. I'm using wet on dry technique, that's it. This is simple, one more final touch with the light colors. If you're satisfied, you can stop it. We can go with the tree trunk. I'm going to use the same Burnt Sienna and ultramarin mix. I'll start with the tree trunk like this, curve, and then draw your shape first. Then you can fill in the colors. I'm using a brown mix at the right side and a lighter mix at the left side to keep the perspective. I'm using a darker color here. And then adding the tree trunk. Make sure use a thick consistency of paint and not watery consistency of paint while you do this process so that it doesn't bleed over. Next, I'll take burn Sienna and then add this then the below details of the that is below the Autumn, autumn tree, add these colors orange, red, and brown. You just have the colors and just have fun trying these techniques guys. It will be so useful when you do your own landscape. I'll help you. Just practice it, explore the techniques, then you can paint any landscape. So I'm painting the bottom of the tree using wet on dry. Next, I'm going to paint the tree branches. For that, I'm mixing a darker consistency like burn timber. Then I'm going to add the tree trunks in between that's peaking out. If you want to add more foliage, you can go with this for the final touches because as light is coming from this side, you can extend the tree if you want. Or just dabbing right and adding my final touches before I finish it off. Make sure you paint it fast because you can add the tree trunk and finish it off. So I think I'll add a more darker constancy to give some depth to a tree. I don't want to look it flat. I look flat. Let on dry. So the layers are already dry. I'm just adding a few filage. So finally, I'm going to add the tree trunk for both. So here, and then few more here. Then I'll take this tacker consistency. Make sure you have a sharp pointed brush. Otherwise, take a different one that has fine pointed tip. Just few branches that are peeking out. It's simple guys. I think I don't want to overdo it. I just want to create some few blends, and then I will stop. Make sure you can add the other details like the grasses near the tree like this. Also, if you need a darker color, make sure you add it and blend it with the color. So that your tree looks organic and more will touch, then I'll stop. Make sure you practice this before we start our class project. My layers here are dry. I'll stop with that. One more final touch. Then we'll One more technique. That's a dry brush technique we are going to see before starting our glass project. So you can see the patchy texture that gives a nice effect. Tree trunks. So let's practice it. First, take your round brush. I'm taking my number six tbreundbush. So dip it in water. Then load your paint with your brush. Next, take the tissue or a cloth. Then see, there should be more paint and less water because dry brushing is nothing but dry paint on a dry surface. So you should take the excess moisture first from your brush, and you should have more paint on your brush. These are cold press papers, but this one is a cold press paper, 100% cotton paper, but it has a smooth effect, smooth texture, but this one is a little bit rough texture, cold press paper. So let's try. I'll show you. So when you start, first, take your brush. Unlike other techniques like wet on dry, you move a little bit fast with your brush. But when you're using rye brush, you can hold it at an angle, then keep your brush on a paper, then flick it. The paper doesn't get sink in, like wet on dry or wet-on-wet. It doesn't bleed into it. But see I'll make sure I'll take the excess moisture from my brush, so dry paint on dry paper. So these are dry brushes are very, very great for adding textures to woods. See, but this one, I think there is more water. So I'll make sure I take the excess from my brush, moisture from my brush. Now I'll show it, fold it and show it to you. See. Just keep your brush and flick it. So just like that. You can use either wangle and also you can explore this technique with different brushes before you try it. But for our class project, you just need one round brush to do it. Be different brushes to give different effects, just keep it and flip it over. Or you can take at an angle, keep your brush at an angle and flip it over like this. Same thing we can do in this side. But this one has a rough structure. You can see the effect. But this one, see, it is a smooth paper, but 100% cotton paper, but it has a smooth texture. So you had to even more keep your brush, little harder to do this process. See? You can even paint a see with this dry brushing technique. And then paint a boat in the center of it. It is great for adding reflections, woods and scrambled leaves. This is a very good technique to add textures and patchy textures, you can see. Make sure you practice this before we start our class project, see you next section. 7. Class Project - Sky and Mountains: Hi, guys. Welcome back. In this section, we'll start a class project. We'll paint this beautiful autumn landscape with the limited palette, four colors I mentioned already, cadmium, scarlet, Bnciena and ultimiu deep. We'll start with the first sky, then move to mountains, then paint the pathway, sorry, the grassland and pathway. Finally, we'll paint the foliage of the trees, autumn trees and then for a final nice touch, we'll add the birds. Let's start. We are going to do wet-on-wet techniques for the calm, beautiful, peaceful autumn sky. Ultramarin with a little bit of Burnt Sienna or ultramarlon. That's your choice. I'm going to use my wash brush, three by four inch wash brush and wet my sky. This is the horizon line. I'm going to wet only the top part of the sky, not the grassland. Let's start. Make sure you apply even coat and not a puddle. So that you get even shine and then also when you apply your paints, it will not just run off or spread too much. Even coat of water is very important when you paint wet-on-wet sky. This is a simple sky just with few horizontal strokes with the altamarn and burn Ciera mix, and then a misty mountain using the same mix. So make sure you keep your paints ready before you start. It'll help you in a good way and you don't want to run out of paints in the middle of your painting. Let's start. Before that, I'll show you the shrine. See? A little shrine, you can sheen there's a puddle in you, edges, make sure you wipe the excess water like this so that you get a clean edge. Let's start. I'm going to use my number six brush rum baatcher to paint my sky. So as I have liquid mix here, it should not be too watery, a lighter colour, not less water, 50% water and 50% paint. Say soft strokes like this, soft stroke like this. Nothing nothing fancy. So I think I got a darker mix. It's okay. I'm going to directly take from ultramarine. And then paint it. Make sure your water is your brush is damp, not too watery, so that your paints will not run away. So so I think you get a soft edge, clean soft edge. So make sure your layer is wet, your paper is wet. Otherwise, it will give hard edges. We don't want a soft we want a soft edge sky and we don't want any hard edges in our sky. That's right. Make sure you wet your paper again with fresh so that it does not give hard edges. I'm going to paint a wet-on-wet sky with the same mix. So ultramarine, and I think I got a water on my paper, so I'm going to wipe it off. Next, dab the excess spines and then start with a thicker mix of paint for your mountains. So just a way we motion. It's easy guys. Just a wavy motion, not too much water. Make sure you wipe your excess water from your brush before doing this step. More paint and less water. Make sure you keep a tissue or tissue paper near you, with paper or cotton cloth near you, so we can wipe it off. Next, I want a smooth blend at the bottom of the mountain to create that misty effect. So Make sure you paint within the horizon line and not below that, so that your painting will not look out of proportion. Make sure you apply your paints how muchever you want before the layer gets dry because once it gets dry, it gets lighter. See, a soft misty mountain. So I'm happy with that, we'll stop with that. Let's wait. Let it dry. Alan first, then the pathway. I created this mix with a little bit of cadmium mellow, orange and scarlet red to get this beautiful orange, warm orange, and also another mix like this one with scarlet and bunsenia because when we paint the pathway, we are going to in the top part lighter as it gradually comes down near us, it gets charcer because in the landscape you see always the details near us are darker and more detailed and more brighter and as it goes away, it face and it becomes lighter. Seeing that perspective, we are going to paint like that. Star I'll start with the orange. We are going to paint wet on dry method for this technique as we already practiced in technique sections, so dry paper, white paint. Let's start. Make sure your layers are dry before you start this process. Otherwise, the colors will blend because it's yellow orange, cadmium yellow orange, if you mix with ultramarine it give a green. So you don't want to get a green. So we want to paint autumn beautiful autumn grassland that looks vibrant and pleasing to your eyes. It's a very beautiful orange color, warm orange color. So first, you're going to paint the left side and then move on to right side, then with the grassland. So make sure you have more paint and less water. Otherwise, your paints will not stay in place and it gives califlereffet. I'll stop here. Next, I'm going to take this Jaco mix and mix it here. See? If you blend it, it gives a beautiful outcome. My paint consistency is correct here, so I don't get any cauliflower effects. Make sure you dab the excess water before you take another color. It's like variegated wash guys. Two colors, but you need to blend it evenly to make it soft and pleasing. Down at the bottom, I make it darker to give depth. As it's near us, it's darker, one more touch and then we'll move on to right side. Next, I'm going to mix the same mix, orange and scalt to get lighter color, start from there. Top. Make sure you have a fine point like this when you add this layer or take a brush smaller brush, and do this step. If you're not contnt with a bigger brush, so lighter colour at the top, darker colour at the bottom. Make sure you just apply it evenly within the layer. Next, I'm going to take the darker brown mix that is mixed with scarlet and Burnt Sienna then add the details after finishing this layer. Darker at the bottom, lighter at the top. So make sure you wipe off the excess sponge and do this process to blend this lay that comes in between evenly. So it doesn't look flat or out of proportion. So it should be a smooth. This is all done in on dry method. You can also go with on wet method, if you're convenient with that. Make sure you keep your paints ready. I want to apply the layer for the pathway, but I'll wait for this layer to dry, then move on to the pathway. I don't want to get the paint bleed into the pathway. So let's wait. 8. Class Project - Tree Foliages: So Hi, guys. Welcome back. In this section, we'll start to paint our trees and finally finish the painting by painting the birds. First, we are going to paint a tree on the right side one and the left side one, we practiced in the technique section. So for this, I used wet-on-wet and wet on rye method. I'm going to use the same method and show you how to paint one tree here with Btonet method and the other tree here with wet on rye method, and finish off by painting bird finally. Let's begin. Here are my paints. So first, for this proportion, I'm thinking that my sum comes from this side left side of the pending. So the foilage will be darker on the right side and lighter on the left side. So first, I'll use the lighter colors and then go to darker colors. So first orange, red, and then brown to add depth to our foilage. So first, I'm going to use this brush size six Grumbacher, same brush. So I'm starting here. Make sure you paint your tree in proportion and not too big so the painting doesn't look out of proportion and not nice. So let's start. First, I'm dabbing few water to start my ton technique. First, I'm going to paint the folage then add my branches. You can go vice versa. You can add the branches first. Wearing this tree, I'll show you I'm going to add the branches first, wet on rye and then a paints. So I'm putting some clean water in a tree shape for a foiage. So now I'm going to take my lightest color with a little bit of red and start putting it here. Just dabbing it. I left space, few wide spaces while I put water, dabbing some water. Same way, you need to just dab it along with the water you added. Lighter at the top. Then gradually, while you go down to the filage on the right side, it becomes harker. I'll add few more reds too. So it's just simple guys, few dabs wet-on-wet and then we can finally add the details of the foliage. Next, I'm going to add brown to the right side. First, few reds and browns in the tree shape. Finally, we can add few strokes at the end. Few dabs. In the shape, don't take too much paint or when you're wetting the tree in a tree shape, don't apply too much water, then it will not look good. I'm adding few reds here. Autumn is full of colors you already know, red, yellow, brown and dark brown. You can use all the colors you see your tree. I think here I put too much water, so I'll take it off, I'll wipe it off with my brush and then add it. So So now I'm going to add few more water wraps for the tree. So next for the final touch, I'll add to red and brown ish brown color for the right right hand side to create depth to our foliage. So I'll stop with that. Please don't or it. I'll stop with it. Let it dry till that. We can work on the left side tree, a little smaller tree than this one. And let's pattll it gets dry. Next, we're going to add this tree, a little smaller than this one. So let's paint. I'm going to add the branches first, then add the foliage over it. This is as you can see, my palette, this is a dark brown color. Annexed Bonsiana and a little bit of ultramarin to get this dark brown color. So first, I'll take my lighter version. This is lighter version, burn Sienna and little cadmium yellow and a tiny bit of red to get this yellow ochre color we practiced painted the pathway before, see? This is a burned Sienna color. This lighter version, and this is the darker version. As the sand comes from this side, we are going to paint the left side of the tree with this color and the right side of the tree with the dark color, closer to burn timber or sepia. H so no excess water, little bit water. So first, I'll add my dream tank. First, a single line and make it wider at the bottom. See? First, I added the lighter color, then the darker color. This we can say wet-on-wet technique too. But it's all dry paper, so it's met on dry technique. So that's nice. So I don't want to make it even more darker. So I'll add other trees, trunks like this. Just sees this has a very sharp point, I'm able to paint a thin strokes trunk like this. So just follow along with me. And then we can finish it off soon. If your brush is very thick, go to smaller size brush and paint your trunk, tree trunks. That's nice, actually. I don't want to order it. Let's start to paint our foiliages see so simple. If you want a lighter color, I'm going to add that yellow ochre lighter Burnt Sienna color here. So next, we're going to add the foliage, so I'll take my orange, dab it on the right hand side. So this is wet on dry. So just dab like this one we did during our practice session. I'm going to toe this. This is wet-on-wet and return dry, so we are going to do this way. So just de paints, lighter colour. Start always with light color when you paint your fooliage. Then go to a darker one. It can be a little bushy, not too thick. Next, I'll add red. I think it's not very dark. I need a medium tone. This is a lighter tone, medium tone, and darter tone. So just few dabs. Or you can use the same orange color fully. This is another method. You can we dry method, but I'm applying the same white light color all over my foliage and then go for the darker one. See? Just adding few for the shadows of the trees. That simple. So and then add your red to give because it's still wet, you can add more layers. And then finally burn Sienna with a little bit of red, which gives a reddish brown. So here, it at the end, it'll be darker, few dabs. Darker motion just add your shadows. It's that simple, guys. So Make sure your paint is wet so that you get a soft effect. But wet on dry, you can paint on a dry surface or use this technique. I'm waiting for it to dry because I don't want to paint the branches, will bleed into all the layers of the foliage everywhere. So lighter color, I'm adding the final lighter color at the end, few dots to add extra details to my foliage. At the end, few dots so that the foliage looks in proportion and pleasing to your eyes. So I'll stop with it. I'm happy with it. Also, I want to add a few more details in my wet-on-wet technique. I'm not satisfied, so I'm going to add a few more reds. If you're satisfied, don't do the steps, skip this step. I don't I'm not satisfied because I want a vibrant autumn tree, so I'm going over it again. If you are satisfied, please skip this step, guys. But here I'm doing it on dry because my paints I already got dry. This is like it on dry here. So I'm okay. So I'll stop with it. Let's paint the trunk and then finish off with bodies. Let's paint a trunk. So I'm just charting from here underneath. I'm adding more blue to make it darker on the right side. Just painting my trunk from the foliage. This is wet on dry. So I add the lighter color like we mixed one with Bnciena and Cadmium melo a little bit red on the right side because this side is lighter. And this one this is darker on the right side, just few water. I need more darker colour, more dark brown like sepia on the right side to give depth to arteries. So I'll add the branches, see. It's a brown. I'll add the tree trunks like this, see, I'm extending it, adding the final touches for our foliage. See, the white color we left while painting with tonbt adding the few trunks in the gaps. So it looks good. It's still wet, so it might bleed sometimes. Be careful. Make sure you use round brush which has a sharp tip like this or a rigor brush if you have. But for the whole painting folage, I use only one single brush. It all depends on the brushes you used, you use and the strokes. Next, I'm going to blend it here. Take a darker brown color and also the orange color we had bile mixing because it's the extra details we are adding for the foliage. Like grasses and few strokes. Finally, I'm adding ultramarine blue and a little bit of burnt sienna and make sure your brush is dry. So dab the excess paint and take more paints in your brush, dab the excess water, and like this extra detail. A few grasses popping out of it, you can either go with textures like this and also add some stones or just leave it simple. I'm going to add some textures and grasses, both. A autumn landscape will come to life with few brush rookes so make sure you do it. And here too, the same thing you're going to do. This one, I'm going to make it darker and make it lighter with the paint I got. The loca paint. Next, the darker one, Burnt Sienna this is too dark, so I'll make it lighter. So next, I'll add some grasses grass blades. Just a flick with your strap point. Make sure you have more paint and less water. Otherwise, the strokes will not look nice. So you can use even your liner brush. Riga brush to do this step. If you're not confident in doing the round brush. So just adding some few textures, final touches. And here, too, I'm going to add some few strokes using dry brush. So take your paints, dab it off, and then just flick like this. Side of your brush, you just flicking it through. See, flicking it through. So do it lightly guys. Don't give some pressure. I like the outcome of this, so I'll stop with this. Next, we can paint the bodies and finish off for painting. Se next section. 9. Class Project - Birdies: Hi, guys. Welcome back. In this section, we'll paint birds for a beautiful Autumn landscape and also the final few touches before finishing our painting. Let's begin. First, I'll add a few more dry strokes and a few more branches for the left side tree because I thought it'll be it'll make more sense if I add few branches. It looks empty, dark color. You get this dark color by mixing these two and use a rigor brush or a fine point round brush. Just few strokes. That's enough, guys. Don't or it just few strokes and you're done. So for the birds, I'm going to use the same mixture, but I'll add more blue born ultramarine blue to make it rich black. I'll show you. I'll watch it and show you. See, this is the darker black. You get rich dark black by mixing ultramarine more ultramarine, like 75% ultramarine and 25% Pansiana. So you'll add the bodies with this rich black color. So you just need to use strokes or whichever or M shape two will be work. See here, I added just V shapes, not shapes. You can go with this or the one I showed in techniques like this. This one is a little bit detailed, as you can see. You can go with this V shape or this one detailed or even shape. Like this, shaped like this one. Whichever works for you. Practice it and then paint the body skis. Make sure your legs are dry before you start. Practice this like this. Simple, thin one or shaped one, I'm giving a head detail one, two wings. Like this. Whichever you like, you can go ahead. I think for class project, I'll go with this and few shaped words, both, like the one in this one I practiced. We'll go simple V shapes. You can do it guys. Make sure paints are dry before you start. So one on the left side of the painting. One, two. So I got an another line, so I'm going to make it bigger. Okay. So make sure you have a thick paint, dab the excess water, and then paint your bids. It's that simple. Wrat this on a sheet of paper before you paint it on your landscape. And one more on the top. Maybe one more here. As it goes far away, your bird will look small, right. So one more final touch, then I'll stop. As soon as a bird that is closer, so you can add details if you want, but I'll leave it simple. And this one little bigger. So that's it, guys. I think I'll stop with this. Hope you painted your birds. If it's not like mine, don't worry, practice it. It's very simple. See you next section. 10. Tape Peeling: Hi, guys. I think our painting has trained fully. Let's peel off the masking tape and see our final outcome. Always, when you peel off the masking tape, peel it at an angle so that you get a clean crispech also when you take off your masking tape, remove it at an angle like this. So I your painting isn't like me, don't worry. Practice makes you perfect, guys. So keep practicing and you'll get the desired outcome. Practice makes you perfect, right. So this is a final outcome. And also Just make sure your lays are all dry before you do the step so that the paints won't get in your hand and make your painting a little bit messy. So here's a final outcome, guys. There you have it. Congratulations. See, I haven't watched my palette here. These are the four colors we used, and these are the colors we got. So there you go. See next section. 11. Conclusion: And there we have it a beautiful autumn landscape created with just four colors. I hope you enjoyed exploring how a limited palette can still create warm depth and harmony in a landscape. Congratulations, guys. Remember, painting isn't about perfection. It's just letting your creativity flow and enjoying the process. Thank you so much for joining me Pure. If you like my class, I request you to leave a review. It helps me as an instructor and artists like you can join in. And also don't forget to share your projects in the projects and associate lives. I love to see it and give my feedback. So until then, keep practicing, keep painting, and I'll see you in my next class.